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SCRITTI LETTERARI

LEONARDO DA VINCI

Mgft (ftufografi e pu66etca*i

J. P. RICHTER

IN DUE PARTI. PARTE II.

LONDRA:

8AMPSON LOW, MARSTON, SEARLE & RIVINGTON

188, FLEET STREKT
1883

u .

i. saiK\

THE LITERARY WORKS

LEONARDO DA VINCI

compifeb anb &tfeb front f(k Original

JEAN PAUL RICHTER, PH. DR.,

KNIGHT OF THE BAVARIAN ORDER OF ST. MICHAEL, &C.

IN TWO VOLUMES.-VOL. II.

LONDON:
SAMPSON LOW, MARSTON, SEARLE & RIVINGTON

1 88, FLEET STREET
1883

DEDICATED

BY PERMISSION

HER MOST GRACIOUS MAJESTY

THE QUEEN

CONTENTS OF VOLUME II.

XI. Pages

NOTES ON SCULPTURE 124

Some practical hints (706 709). Notes on the casting of the Sforza
monument (710 715). Models for the horse of the Sforza monument (716
718). Occasional references to the Sforza monument (719 724). The project
of the Trivulzio monument (725). The mint of Rome (726). On the coining
of medals (727. 728). On plaster (729. 730). On bronze casting generally
(73 J 74o).

INTRODUCTORY OBSERVATIONS ON THE ARCHITECTURAL DESIGNS

AND WRITINGS ON ARCHITECTURE 25. 26

XII.
ARCHITECTURAL DESIGNS 2774

I. Plans for towns (741 744). II. Plans for canals and streets in a
town (745 747). III. Castles and villas. A. Castles. B. Projects for palaces.
C. Plans for small castles or villas (748 752). IV. Ecclesiastical Architec-
ture. A. General observations (753 755). B. The theory of constructing
Domes. i. Churches formed on the plan of a Greek cross. Group I. Domes
rising from a circular base. Group II. Domes rising from a square base.
Group III. Domes rising from a square base and four pillars. Group IV. Domes
rising above an octagonal base. Group V. Suggested by S. Lorenzo at Milan
(756). 2. Churches formed on the plan of a Latin cross. A. Studies after
existing monuments. B. Designs or Studies (757). C. Studies for a form of
church most proper for preaching D. Design for a mausoleum. E. Studies for
the Central tower or Tiburio of Milan Cathedral (758). F. The Project for
lifting up the Battistero of Florence and setting it on a basement. G. Descrip-
tion of an unknown temple (759). V. Palace architecture (760 763).
VI. Studies of architectural details (764 769).

XIII.
THEORETICAL WRITINGS ON ARCHITECTURE 75 99

I. On Fissures in walls (770 776). II. On Fissures in niches (777
778). III. On the nature of the arch (779 788). IV. On Foundations, the
nature of the ground and supports (789 792). V. On the resistance of beams

VUI CONTENTS OF VOLUME II.

Pages
KKMARKS ON THE STYLE OF LEONARDO'S ARCHITECTURE 100-104

XIV.
ANATOMY, ZOOLOGY AND PHYSIOLOGY 105-133

I \NATOMY :-A general introduction ( 79 6).-Plans and suggestions for
the arU"mof "trials < 797 -8o,).-Pl.n. for the repn^trton o f , u-

!,> ,ir,wings (8o 3 -8o 9 ).-0n corpulency and leanness (809-8 ).-
Th" divisions of the head (812. 8 13). -Physiological problems (814 -.815 ).-
ir/.-Miv AN,, COMPAUmi. AMATOMY:-The divisions of the anima kingdom
(816. 8 17). -Miscellaneous notes on the study of Zoology (818-821). Com-
parative study of the structure of bones and of the action of muscles (822-
8t6) -III PHYSIOLOGY: Comparative study of the organs of sense m men and
animals (827). Advantages in the structure of the eye in certain animals (828
to 8 3 i).-Remarks on the organs of speech (832. 8 33 ).-On the conditions of
sight (834. 835). The seat of the common sense (836). On the origin of the
soul (837) -On the relations of the soul to the organs of sense (838). On
involuntary muscular action (839). Miscellaneous physiological observations
(840 841). The laws of nutrition and the support of life (843 848). On
the circulation of the blood (848 850). Some notes on medicine (851855).

XV.
ASTRONOMY 13 5~ 1 7 2

I. THE EARTH AS A PLANET: The earth's place in the universe (857. 858).
The fundamental laws of the solar system (859 864). How to prove that the
earth is a planet (865867). The principles of astronomical perspective (868
to 873). On the luminosity of the earth in the universal space (874 878).
II. THE SUN: The question of the true and of the apparent size of the sun
(879884). Of the nature of sunlight (885). Considerations as to the size
of the sun (886 891). III. THE MOON: On the luminosity of the moon (892
to 901). Explanation of the lumen cinereum of the moon (902). On the spots
in the moon (903 907). On the moon's halo (908). On instruments for
observing the moon (909. 910). IV. THE STARS: On the light of the stars
(911 913). Observations on the stars (914). On the history of astronomy
(915). Of time and its divisions (916 918).

XVI.
PHYSICAL GEOGRAPHY 173221

INTRODUCTION. Schemes for the arrangement of the materials (919 928).
General introduction (929). I. OF THE NATURE OF WATER: The arrangement of
Book I (930). Definitions (931. 932). Of the surface of the water in relation to
the globe (933 936). Of the proportion of the mass of water to that of the earth
(937- 93 8 ) -The theory of Plato (939). That the flow of rivers proves the
slope of the land (940). Theory of the elevation of water within the moun-
tains (941). The relative height of the surface of the sea to that of the land
(942 945). II. ON THE OCEAN: Refutation of Pliny's theory as to the salt-
sea (946. 947). The characteristics of sea water (948. 949). On
the formation of gulfs (950. 951). On the encroachments of the sea on the
land and vice versa (952 954). The ebb and flow of the tide (955960).-
INEAN WATER COURSES: Theory of the circulation of the waters (961.
ervations in support of the hypothesis (963 969). IV. OF RIVERS:
m which the sources of rivers are fed (970). The tide in
On the alterations caused in the courses of rivers by their
~~?74). Whirlpools (975). On the alterations in the channels
Fhe origin of sand in rivers (977. 978). V. ON MOUN-
f mountains (979 983). The authorities for the study

CONTENTS OF VOLUME II. IX

Pages

of the structured the earth (984). VI. GEOLOGICAL PROBLEMS: Programme (985).
Doubts about the Deluge (986). That marine shells could not go up the
mountains (987). The marine shells were not produced away from the sea
(988). Further researches (989 991). Other problems (992 994). VII. On
the atmosphere: Constituents of the atmosphere (995). On the motion of
air (996 999). The globe an organism (1000).

XVII.
TOPOGRAPHICAL NOTES 223270

I. ITALY: Canals in connection with the Arno (1001 1008). Canals in
the Milanese (1009 1013). Estimates and preparatory studies for canals (1014.
1015). Notes on buildings at Milan (1016 1019). Remarks on natural phe-
nomena in and near Milan (1021. 1022). Note on Pavia (1023). Notes on
the Sforzesca near Vigevano (1024 1028). Notes on the North Italian lakes
(1029 1033). Notes on places in Central Italy, visited in 1502 (1034 1054).
Alessandria in Piedmont (1055. 1056). The Alps (1057 1062). The
Appenines (1063 1068). II. FRANCE (1069 1079). On the Germans (1080.
1081). The Danube (1082). III. THE COUNTRIES OF THE WESTERN END OF THE
MEDITERRANEAN: The straits of Gibraltar (1083 1085). Tunis (1086). Libya
(1087). Majorca (1088). The Tyrrhene Sea (1089). IV. THE LEVANT. The
Levantine Sea (1090). The Red Sea (1091. 1092). The Nile (1093 1098).
Customs of Asiatic Nations (1099. noo). Rhodes (noi. 1102). Cyprus
(1103. 1104). The Caspian Sea (1105. 1106). The sea of Azov (1107). The
Dardanelles (uc8). Constantinople (1109). The Euphrates (i no). Central
Asia (mi). On the natives of hot countries (1112).

XVIII.
NAVAL WARFARE. MECHANICAL APPLIANCES. MUSIC 271282

The ship's log of Vitruvius, of Alberti and of Leonardo (1113).
Methods of staying and moving in waters (1114). On naval warfare (1115.
1116). The use of swimming belts (1117). On the gravity of water (1118).
Diving apparatus and skating (11191121). On fly ing -machines (1122
1126). On mining (1127). On Greek fire (1128). On music (1129. 1130).

XIX.
PHILOSOPHICAL MAXIMS. MORALS. POLEMICS AND SPECULATIONS 283311

. I. PHILOSOPHICAL MAXIMS: Prayers to God (1132. 1133). The powers of
Nature (1134 1139). Psychology (11401147). Science, its principles and
rules (11481161). II. MORALS: What is life? (1162. 1163). Death (1164).
How to spend life (1165 1179). On foolishness and ignorance (1180
1182). On riches (1183 1187). Rules of Iife(n88 1202). Politics (1203.
1204). III. POLEMICS. SPECULATION: Against speculators (1205. 1206).
Against alchimists (1207. 1208). Against friars (1209). Against writers of
epitomes (1210). On spirits (1211 1215). Nonentity (1216). Reflections
on Nature (1217 1219).

XX.

HUMOROUS WRITINGS 313 379

I. STUDIES ON THE LIFE AND HABITS OF ANIMALS (1220 1264).
II. FABLES : Fables on animals (1265 1270). Fables on lifeless objects
(1271 1274). Fables on plants (1275 1279). III. JESTS AND TALES
(1280 1292). IV. PROPHECIES (1293 1313). -V. DRAUGHTS AND SCHEMES
FOR THE HUMOROUS WRITINGS: Schemes for Fables &c. (1314 1323); Schemes
for Prophecies (13241329); Irony (1331. 1332). Tricks (13331335)-

CONTENTS OF VOLUME II.

XXI. Pages

LETTERS. PERSONAL RECORDS. DATED NOTES 381 417

Draughts of letters and reports referring to Armenia (1336. 1337).
Notes about adventures abroad (1338. 1339). Draughts of letters to Lodovico
il Moro (1340 1345). Draught of letter to a Commission at Piacenza (1346
to '347)- Letter to the Cardinal Ippolito d'Este (1348). Draught of letter to
the French Governor of Milan (1349). Draughts of letters to the Superinten-
dent of canals and to Melzi (1350). Draughts of letter to Giuliano de' Me-
ili<i (1351. 1352). Draught of a letter written at Rome (1353). A fanciful
letter (1354). Miscellaneous draughts of letters and personal records (1355 to
1368). Notes bearing dates (1369 1378).

XXIL
MISCELLANEOUS NOTES 419472

Memoranda before the year 1500 (1379 1413). Memoranda after the

year 1500 (1414 1434). Memoranda of unknown dates (14351457).

Notes on pupils and artisans (1458 1468). Quotations and notes on books
and authors (1469 1508). Inventories and Accounts (1509- 1545). Notes
in unknown handwriting among the Manuscripts (1546 1565). Leonardo's
will (1566).

REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS 473478

APPENDIX 479-499

History of the Manuscripts. Bibliography.

JO-

LIST OF ILLUSTRATIONS IN VOLUME II.

Page

PI. LXV. Two preparatory Studies for the Sforza Monument; from the Royal
Library, Windsor Castle: No. i drawn with the pen, No. .2 drawn with
the silverpoint on bluish tinted paper To face i

PI. LXVI. Study for the Sforza Monument; from the Royal Library, Windsor

Castle To face 3

Fragment of Drawing, representing a walking Horse; from the Ambrosian Library,

Milan 4

PI. LXVII. Study for the Sforza Monument, drawn with the silverpoint on bluish

tinted paper; from the Royal Library, Windsor Castle .... To face 4

PL LXVIII. Study for the Sforza Monument; charcoal drawing on brown paper;

from the Royal Library, Windsor Castle To face 6

PI. LXIX. Study for the Sforza Monument, drawn in charcoal and with the pen and

Indian ink; from the Royal Library, Windsor Castle .... To face 8

PI. LXX. Study for the Sforza Monument, drawn with charcoal; from the Royal

Library, Windsor Castle To face 10

PI. LXXI. Study for the Sforza Monument, at first drawn with charcoal and
afterwards with the pen; from the Royal Library, Windsor Castle

To face 12

PI. LXXII. Drawing of a walking Horse, and two studies for the Sforza Monument;

from the Royal Library, Windsor Castle To face 14

PI. LXXIII. Study for the Sforza Monument, drawn with charcoal; from the Royal

Library, Windsor Castle To face 16

PI. LXXIV. Study for the Sforza Monument, at first drawn with red chalk and
afterwards with the pen; from the Royal Library, Windsor Castle

To face 18

PI. LXXV. Study for the Sforza Monument; from the Royal Library, Windsor

Castle see text No. 711 To face 20

XII

LIST OF ILLUSTRATIONS IN VOLUME II.

Page
PI LXXVI. Two Drawings: No. i Study for the Sforza Monument; drawn in red

chalk, se e text No. 712 (from the Codex Atlanticus, Milan); No. 2

Drawing of instruments for the mint of Rome, see text No. 726 ;
from Manuscript G, Institut de France, Paris To face 22

Sketch of a walking Horse, and two studies for casting the figure of a horse, from

the Royal Library, Windsor Castle on page 24

PI. LXXVII. Two Drawings of Plans for Towns; from Manuscript B, Institut de

France, Paris see text Nos. 741, 742 and 743 To face 27

PL LXXV1IJ. Two Architectural Drawings, from Manuscript B, Institut de France,
Paris: No. i representing a stable see text No. 761 ; No. 2 drawing
of Plans for Towns To face 29

PI. I.XXIX. Two Plans for Canals in a Town; from Manuscript B, Institut de France,

Paris see text Nos. 745 and 746 To face 30

PI. LXXX. Four Drawings of Architecture for Castles: No. i from the Vallardi Vo-
lume, in the Louvre, Paris; Nos. 2 and 3 from Manuscript B, Institut
de France, Paris; No. 4 from the Royal Library, Windsor Castle;
and one Drawing of Ecclesiastical Architecture: No. 5, from Manu-
script B, Institut de France, Paris between pp. 32 and 33

PI. I. XXXI. Two Architectural Drawings: No. i a sketch for Decorations, from the
Trivulzi Manuscript, Milan; No. 2 Plan for a Royal residence; from
the Codex Atlanticus, Milan see text No. 748 To face 33

PI. I. XXXI I. Four Drawings of projects for Castles and Villas; Nos. i and 4 from
the Codex Atlanticus, Milan; No. 2 from Manuscript KJ see text
No. 749 , and No. 3 see text No. 750 from Manuscript B, Institut
de France, Paris ; between pp. 32 and 33

PI. LXXXIII. Drawing of Plans for a Castle, and of a Nude Figure, washed with
Indian ink; from the Royal Library, Windsor Castle see text
No - 1I( >3 To face 34

PI. LXXXIV. Drawing of Ecclesiastical Architecture, from the Codex Atlanticus,

Milan To face 37

PI. LXXXV. Five Architectural Drawings: Nos. 112 from the Ashburnham Manu-
script II; No. 13 from Manuscript I 2 , and No. 16 from Manuscript H3,
Institut de France, Paris see text No. 768; Nos. 1416 (Nos. 14
and 1 6 in red chalk) from the Manuscripts III and IP, South Ken-
sington Museum, London see text No. 768 To face 38

PL LXXXVI. Drawing of Ecclesiastical Architecture; from the Codex Atlanticus

Milan rp c

lo face 41

PL LXXXVII. Four Drawings of Ecclesiastical Architecture: No. i from the Codex
cus Milan; No. 2 -see text No. 755-, 3 and 4 from Manu-
-npt B, Institut de France, Paris To face 43

Three Plans of Churches: Fig. , from the Royal Library, Windsor Castle; Nos. 2

a -om Manuscript B, Institut de France, Paris .... on page 44

PL LXXXVIII. Two Drawings from Manuscript B, Institut de France, Paris: Nos. i-
Han. of Churches; Nos. 6, 7 Plan of Pavilion at Milan-see text

To face 44

' CS f fr m rf T Cri f B ' InStitUt de France > P * (% i, >) and

Church, from the Ashburnham Manuscript II (fig. 3)

on page 45

LIST OF ILLUSTRATIONS IN VOLUME II. XIII

Page
PL LXXXIX. Drawing of Churches, from Manuscript B, Institut de France, Paris

To face 46

Plans of Churches: Fig. i and 2 from Manuscript B, Institut de France, Paris; Fig. 3

from the Royal Library, Windsor Castle on page 47

PI. XC. Drawing of Churches; from Manuscript B, Institut de France, Paris . To face 48

PL XCI. Two Drawings of Churches;^ from the Ashburnham Manuscript II see text

No. 754 To face 48

PL XCII. Two Drawings of Churches ; from Manuscript B, Institut de France, Paris

see text No. 753 To face 48

PL XCIII. Two Architectural Drawings; from Manuscript B, Institut de France, Paris:

No. i Pillars and Beams; No. 2 View and Plan of a Church . To face 50

Sketch of the Plan of a Church; from Manuscript B, Institut de France, Paris . . 51

PL XCIV. Three Drawings of Churches: No. i from Manuscript L, and Nos. 2
and 3 from Manuscript B, Institut de France, Paris; No. 34 from the
Ambrosian Library, Milan To face 52

Sketch of a church in the background of Leonardo's unfinished picture of St. Jerome,

in the Pinacoteca of the Vatican, Rome 54

PL XCV. Two Plans of Churches; from Manuscript B, Institut de France, Paris

To face 54

Two Plans of a Theatre for Preaching: Fig. i from Manuscript B, Institut de France,

Paris; Fig. 2 from the Ashburnham Manuscript II on page 56

PL XCVI. Two Drawings of Churches: No. 7 from the Codex Atlanticus, Milan;
No. 2 from Manuscript B, Institut de France, Paris see text No. 757

To face 56

PL XCVII. Drawing of Churches; from Manuscript B, Institut de France, Paris

To face 56

Drawing of a Theatre for Preaching; from the Ashburnham Manuscript II .... 57

PL XCVIII. Design for a Mausoleum; from the Vallardi Volume, Louvre, Paris

between pp. 58 and 59

PL XCIX. Three Drawings of Milan Cathedral: No. i from the Trivulzio Manu-
script, Milan see text No. 758 ; No. 2 in red chalk, from Manu-
script III, South Kensington Museum, London; No. 3 from the Codex
Atlanticus, Milan To face 60

Two Drawings of Milan Cathedral, from the Trivulzio Manuscript, Milan . . on page 61
Sketch of architectural detail, Santa Maria delle Grazie, Milan on page 62

PI- C. Five Drawings of Milan Cathedral: No. i from the Codex Atlanticus,
Milan; Nos. 2 4 from the Trivulzio Manuscript, Milan; No. 5 from
Manuscript B, Institut de France, Paris between pp. 64 and 65

Sketch of a Palace; from the Manzoni Manuscript, Rome on page 67

Three Sketches of Houses: Fig. i and 2 from Manuscript I, Institut de France,

Paris; Fig. 3 from the Arundel Manuscript, British Museum . on page 68

XIV LIST OF ILLUSTRATIONS IN VOLUME II.

Page

PL CL Two Architectural Drawings: No. i-see text No. 760 from the Royal
Library, Windsor Castle; No. 2 from the Codex Atlanticus, Milan;
No. 3 Designs of Fountains, drawn with the pen on bluish paper,
from the Royal Library, Windsor Castle .......... To face 68

I'l. Oil. Three Architectural Drawings: No. i in red chalk, from the Royal Library,
Windsor Castle; Nos. 2 (reversed) and 3 see text No. 762 from
Manuscript B, Institut de France, Pance .......... To face 70

Two Drawings of the Base of a Column; from Manuscript III, South Kensington

Museum, London .................... on page 72

PL CHI. Three Architectural Drawings: Nos. i and 2 from Manuscript B, Institut
de France, Paris; No. 3 see text No. 769 (reversed) from the Codex
Atlanticus, Milan .................... To face 74

PI. CIV. Architectural Drawing; from the Arundel Manuscript, British Museum,

London see text No. 770 ................ To face 77

PI. CV. Two Architectural Drawings; from the Arundel Manuscript, British Museum,

London see text Nos. 771, 775, 778 ...... '. ..... To face 84

Architectural Drawing; from the Arundel Manuscript, British Museum,
London see text Nos. 772, 789 ............. To face 94

Architectural Drawing; from the Codex Atlanticus, Milan ........ on page 104

Anatomical Drawing, drawn with the pen and washed with Indian ink;
from the Royal Library, Windsor Castle .......... To face no

PL CVIIL Four Anatomical Drawings; No. i see text No. 809 and No. 4 see

No. 814 from the Royal Library, Windsor Castle; No. 2

-see text No. 824 from Manuscript KJ, Institut de France, Paris-

>. 3 -see text No. 813 from Manuscript III, South Kensington Mu-

seum; and an Astronomical Drawing see text No. 902 from the

Leicester Manuscript, Holkam Hall ............ To face 120

PL CO. Sketch Map of Milan; from the Codex Atlanticus, Milan-see text

NO. IOIO ...... T- r

- ......... To face 233

Four Topographical Drawings from Manuscripts in the Institut de France
: No. i (Constantinopel)-see text No. izo 9 -from Manuscript L-
V, g evano)_see text No. 1 02 4 -in red chalk, from Manuscript H
nena Urbmo)-see text Nos. 765 and io 3 8-andNo. 4 (Cesenaj
text No. 1040 from Manuscript L ........ .. To face

o /

LlhL?"5i ?' A r ?P resentin g the Town of Imola from the Royal

Awry, Windsor Castle,-see text No. 105:-; No. 2 representing the

Mediterranean Sea; from the Codex Atlanticus-see text' No T ^2-

between pp. 240 and 241
ed Ma of art

Coloured Map of part of Tuscany, from the Royal Library, Windsor

Cdoured Map of par. of Central Italy; from the Royal Library, Windsor

between pp. 240 and 241

yal Library, Windsor
between pp. 248 and 249

LIST OF ILLUSTRATIONS IN VOLUME II.

Page
PL CXV. Sketch Map of the Loire at Amboise; from the Arundel Manuscript,

British Museum see text No. 1074 To face 251

PI. CXVI. Sketch of Armenian Mountains; from the Codex Atlanticus, Milan see

text No. 1336 To face 385

PI. CXVII. Sketch of Armenian Mountains; from the Codex Atlanticus, Milan, see

text No. 1336 To face 388

PI. CXVIII. Sketch of a Peak in Armenia, and Sketch Map of Armenia; from the

Codex Atlanticus, Milan see text No. 1336 , . . To face 391

PI. CXIX. Sketch Map of Armenia; from the Codex Atlanticus, Milan see text

No. 1336 To face 392

PL CXX. Drawing of Oriental Heads, in red chalk; from the Royal Library, Turin

To face 394

PL CXXI. Drawing of Musical Instruments &c. ; from the Arundel Manuscript,

British Museum, London see text Nos. 1128 and 860 . . . To face 411

PL CXXII. Drawing of Caricatures; from the Royal Library, Windsor Castle

To face 411

The size of the original drawings has been reduced on Plates LXVI, CVII, CIX, CXI No. I, CXII,
CXIII, CXIV, CXVI, CXVII, CXVIII and CXXII. On Plate CXIX it has been enlarged. The colour and
tone of the paper have in every case been faithfully imitated, in order to give to the facsimiles a perfect
and complete resemblance to the originals, whether drawn in charcoal, red chalk or pen and ink. It is
to be understood that all Drawings here reproduced are in pen-and-ink, unless otherwise stated.

ERRATA.

Mt; foe* 19 t. il /or rope rtad rompe./. 20 /. 4/nw* tf* end for sciuma read schiuma. p. 132 /. id for

cone ni^ icocr. /. 164 A 31 /or Irova; mu/ trova,./. 170 /. & for pu vicini r<W piii vicini./. 260 /. 9./&T vsarano mi</
VMTWM. /. *QJ /. u /or oro rW loro. /. 309 L 9 /or arimetici r<-<?rf aritmctici; /. n for sie stende read si estende. /. 328
/. M/OT Modi r*W odo.-/. 3*9 /. 31 /or regoli nrarf regole. /. 358 /. $/rom the end for bellonti read bollenti. p. 365 /. 3
frrm At /W/or abbraccieraoi rtad abbraccicran .

: ffft 46 1. ii /or No. 14 rw*/ No. 4--/. 49 /. 19 for PI. CXXXIV rnirf PI. LXXXIV.- p. ^ first Note,
ftr PL IX mul PI. XIJII. /. 60 /. 8/*r PI. CXIX r*-^ PI. XCIX. /. 102 /. 4 /n> ike end for XCVI arf XCIV.- p. 103 /. 8
/w PI. XL nrWPI. XC; t, ^ftr PI. XL read PL XC. /. 155 /. n /or weight read weighty./. 190 /. 25 for it there read
ill**. /. J i 4>w* *** tndfor to much rr<u/ so much./. 368 /. 24 for Flammc read Flame; /. 29 for to blows read blows.

The notes on Sculpture.

Compared with the mass of manuscript treating of Painting, a very small number
of passages bearing on the practice and methods of Sculpture are to be found scattered
through the note books; these are here given at the beginning of this section
(Nos. 706 709,). There is less cause for surprise at finding that the equestrian statue
of Francesco Sforza is only incidentally spoken of; for, although Leonardo must have
worked at it for a long succession of years , it is not in the nature of the case that it
could have given rise to much writing. We may therefore regard it as particularly
fortunate that no fewer than thirteen notes in the master's handwriting can be brought
together, which seem to throw light on the mysterious history of this famous work.
Until now writers on Leonardo were acquainted only with the passages numbered 712,
719, 720, 722 and 723.

In arranging these notes on sculpture I have given the precedence to those which
treat of the casting of the monument, not merely because they are the fullest, but more
especially with a view to reconstructing the monument, an achievement which really
almost lies zvithin our reach by combining and comparing the whole of the materials
now brought to light, alike in notes and in sketches.

A good deal of the first two passages, Nos. 710 and 711, which refer to this
subject seems obscure and incomprehensible; still, they supplement each other and one con-
tributes in no small degree to the comprehension of the other. A very interesting and
instructive commentary on these passages may be found in the fourth chapttr of Vasari's

VOL. II. A

THE SFORZA MONUMENT.

oter designs * * *~* P^ing ***/ ** <***' f "^
W * copious notes as to the method of cos**, <*< 4<* ^
/<- 71 ^.finally selected, *~ to be MM *y *******
"II cavallo dello Sforza''-^ Boito remarks very appositely in the Saggio on
26 "doveva sembrare fratello al cavallo del Colleoni. E si direbbe che questo fosse
jio del cavallo del Gattamelata, il quale pare figlio di uno dei quattro cavalli che sta-
vano forse sull'Arco di Nerone in Roma" (now at Venice). The publication of the
Saggio also contains the reproduction of a drawing in red chalk, re P resent in g a horse
walking to the left and supported by a scaffolding, given here on PL LXXVI, No. I.
// must remain uncertain whether this represents the model as it stood during the pre-
parations for casting it, or whether-as seems to me highly improbable-this sketch shows
the model as it was exhibited in I 4 93 on the Piazza del Castello in Milan under a
triumphal arch, on the occasion of the marriage of the Emperor Maximilian to Bianca
Maria Sforza. The only important point here is to prove that strong evidence seems to
show that, of the numerous studies for the equestrian statue, only those which represent
the horse pacing agree with the schemes of the final plans.

The second group of preparatory sketches, representing the horse as galloping,
must therefore be considered separately, a distinction which, in recapitulating the history
of the origin of the monument seems justified by the note given under No. 720.

Galeaszo Maria Sforza H as assassinated in 1476 before his scheme for erecting a
monument to his father Francesco Sforza could be carried into effect. In the following
year Lodovico il Moro the young aspirant to the throne was exiled to Pisa, and only
returned to Milan in 1479 when he was Lord (Governatore) of the State of Milan, in 1480
after the minister Cecco Simonetta had been murdered. It may have been soon after
this that Lodovico il Moro announced a competition for an equestrian statue, and it is
tolerably certain that Antonio del Pollajuolo took part in it, from this passage in Vasari's
Life of this artist: "E si trovo, dopo la morte sua, il disegno e modello che a Lodo-
vico Sforza egli aveva fatto per la statua a cavallo di Francesco Sforza, duca di Milano;
il quale disegno e nel nostro Libro, in due modi: in uno egli ha sotto Verona; nell'altro,
egli tutto armato, e sopra un basamento pieno di battaglie, fa saltare il cavallo addosso
a un armato; ma la cagione perche non mettesse questi disegni in opera, non ho gia
potuto sapere." One of Pollajuolo 's drawings, as here described, has lately been discovered
by Senatore Giovanni Morelli in the Munich Pinacothek. Here the profile of the horseman
is a portrait of Francesco Duke of Milan, and under the horse, who is galloping to the
left, we see a warrior thrown and lying on the ground; precisely the same idea as we find

V ;.>''.'; ;X^^P.* : S
* ''.-'."'' '.

Imp Eudes

THE SFORZA MONUMENT.

in some of Leonardo's designs for the monument, as on PI, LXVI , LX VII , LXVIH,
LXIX and LXXII No. i ; and, as it is impossible to explain this remarkable coincidence
by supposing that either artist borrowed it from the other, we can only conclude that
in the terms of the competition the subject proposed was the Duke on a horse in full
gallop , with a fallen foe under its hoofs.

Leonardo may have been in the competition there and then, but the means for exe-
cuting the monument do not seem to have been at once forthcoming. It was not perhaps
until some years later that Leonardo in a letter to the Duke (No. 719,) reminded him of
the project for the monument. Then, after he had obeyed a summons to Milan, the plan
seems to have been so far modified, perJiaps in consequence of a remonstrance on the
part of the artist, that a pacing horse zvas substituted for one galloping, and it may
have been at the same time that the colossal dimensions of the statue were first decided
on. The designs given on PL LXX, LXX I, LXXII, 2 and 3, LXXIH and LIV and
on pp. 4 and 24, as well as three sketches on PL LXIX may be studied with
reference to the project in its new form, though it is hardly possible to believe that in
either of these we see the design as it was actually carried out. It is probable that in
Milan Leonardo worked less on draivings, than in making small models of wax and clay
as preparatory to his larger model. Among the drawings enumerated above , one in
black chalk, PI. LXXIH the upper sketch on the right hand side, reminds us strongly
of the antique statue of Marcus Aurelius. If, as it would seem, Leonardo had not until
then visited Rome, he might easily have known this statue from drawings by his former
master and friend Verrocchio, for Verrocchio had been in Rome for a long time between
1470 and 1480. In 1473 Pope Sixtus IV had this antique equestrian statue restored
and placed on a new pedestal in front of the church of San Giovanni in Laterano.
Leonardo, although he was painting' independently as early as in 1472 is still spoken of
as working in Verrocchio 's studio in 1477. Two years later the Venetian senate decided
on erecting an equestrian statue to Colleoni; and as Verrocchio, to whom the work was
entrusted, did not at once move from Florence to Venice where lie died in 1488 before
the casting was completed but on the contrary remained in Florence for some years,
perhaps even till 1485, Leonardo probably had the opportunity of seeing all his designs
for the equestrian statue at Venice and the red chalk drawing on PL LXX IV may be
a reminiscence of it.

The pen and ink drawing on PL LXXII, No. 3, reminds us of Donatella's statue
of Gattamelata at Padua. However it does not appear that Leonardo was ever at Padua
before 1499, but we may conclude that he took a special interest in this early bronze
statue and the reports he could procure of it, form an incidental remark which is to be
found in C. A. 145 ; 432, and which will be given in Vol. II under Ricordi or
Memoranda.

THE SFORZA MONUMENT.

Among the studifsin the widest sense of the word made in preparation for this
statue we may include the Anatomy of the Horse which Lomazzo and Vasari both
mention, the most important parts of this work still exist in the Queen's Library at

tlua

are

,o that tr*s<, a koru in full gallop ^rs hu

l6ani

oc f

--e.-.og-

THE SFORZA MONUMENT.

If we may trust the account given by Paulus Jovius about 1527 Leonardo's horse
was represented as "vehementer incitatus et anhelatus". Jovius had probably seen the
model exhibited at Milan; but, need we, in fact, infer from this description that the
Jiorse was galloping '? Compare Vasari" 1 s description of tJie Gattamelata monument at
Padna: "Egli [Donatello] vi ando ben volentieri, e fece il cavallo di bronzo, che e in
sulla piazza di Sant Antonio, nel quale si dimostra lo sbuffamento ed il fremito del
cavallo, ed il grande animo e la fierezza vivacissimamente espressa dall'arte nella figura
che lo cavalca".

These descriptions, it seems to me, would only serve to mark the difference between
the work of the middle-ages and that of the renaissance.

We learn from a statement of Sabba da Castiglione that, when Milan was taken
by the FrencJi in 1499, the model sustained some injury ; and tJiis informant, who, however
is not invariably trustworthy, adds tJiat Leonardo had devoted fully sixteen years to
this work (la forma del cavallo, intorno a cui Leonardo avea sedici anni continui
consumati). This often-quoted passage has given ground for an assumption, which has
no other evidence to support it, that Leonardo had lived in Milan ever since 1483. But
I believe it is nearer the truth to suppose that this author's statement alludes to the fact
that about sixteen years must have past since the competition in which Leonardo had
taken part.

I must in these remarks confine myself strictly to the task 'in hand and give no
more of the history of the Sforza monument than is needed to explain the texts and
drawings I have been able to reproduce. In the first place, with regard to the drawings,
I may observe that they are all, with the following two exceptions, in the Queeris Library
at Windsor Castle; the red chalk drawing on PI. LXXVI No. i is in the MS. C. A.
(see No. 712) and the fragmentary pen and ink drawing on page 4 is in the Am-
brosian Library. The drawings from Windsor on PL LXVI have undergone a trifling
reduction from the size of the originals.

There can no longer be the slightest doubt that the well-known engraving of several
horsemen (Pas savant, Le Peintre-Graveur, Vol. V, p. 181, No. $) is only a copy after
original drawings by Leonardo, executed by some unknown engraver; we have only to
compare the engraving with the facsimiles of drawings on PL LXV, No. 2, PL LXVII,
LXVIII and LXIX which, it is quite evident, have served as models for the engraver.

On PL LXV No. \, in the larger sketch to the right hand, only the base is distinctly
visible, the figure of the horseman is effaced. Leonardo evidently found it unsatisfactory
and therefore rubbed it out.

The base of the monument the pedestal for the equestrian statue is repeatedly
sketched on a magnificent plan. In the sketch just mentioned it has the character of
a shrine or aedicula to contain a sarcophagus. Captives in chains are here represented
on the entablature with their backs turned to that portion of the monument which more

THE SFORZA MONUMENT.

strictly constitutes the pedestal of the horse. The lower portion of the aedicula is
surrounded by colutnns. In the pen and ink drawing PL LXVIthe lower drawing
on the right hand side the sarcophagus is shown between the columns, and above the
entablature is a plinth on which the horse stands. But this arrangement perhaps seemed to
Leonardo to tack solidity, and in the little sketch on the left hand, below, the sarcophagus
is shown as lying under an arched canopy. In this the trophies and the captive warriors
are detached from the angles. In the first of these two sketches the place for the trophies
is merely indicated by a few strokes; in the third sketch on the left the base is altogether
broader ; buttresses and pinnacles having been added so as to form three niches. The
black chalk drawing on PL LXVIII shows a base in which the angles are formed by
niches with pilasters. In the little sketch to the extreme left on PL LXV, No. \, the
equestrian statue serves to crown a circular temple somewhat resembling Bramante's
tempietto of San Pietro in Montorio at Rome, while the sketch above to the right dis-
plays an arrangement faintly reminding us of the tomb of the Scaligers in Verona. The
base is thus constructed of tii'o platforms or slabs, the upper one considerably smaller
than the lower one which is supported on flying buttresses with pinnacles.

On looking over the numerous studies in which the horse is not galloping but merely
walking forward, we find only one drawing for the pedestal, and this, to accord with
the altered character of the statue, is quieter and simpler in style (PI. LXXIV). It rises
almost vertically from the ground and is exactly as long as the pacing horse. The
whole base is here arranged either as an independent baldaquin or else as a projecting
canopy over a recess in which the figure of the deceased Duke is seen lying on his sar-

cophagus; in the latter case it was probably intended as a tomb inside a church. Here

'oo, it was intended to fill the angles with trophies or captive warriors. Probably only
No. 724 in the text refers to the work for the base of the monument.

If we compare the last mentioned sketch with the description of a plan for an

equestrian monument to Gian Giacomo Trivulzio (No. 72$) it seems by no means im-

possible that this drawing is a preparatory study for the very monument concerning:

vhich the manuscript gives us detailed infonnation. We have no historical record

egarding this sketch nor do the archives in the Trivulzio Palace give us any informa-

The simple monument to the great general in San Nazaro Maggiore in Milan

*ts merely of a sarcophagus placed in recess high on the ivall of an octagonal

The figure of the warrior is lying on the sarcophagus, on which his name

cribed; a piece of sculpture which is certainly not Leonardo's work Gian

mo Trivulzio died at Chartres in 1518, only five months before Leonardo, and

t to me highly improbable that this should have been the date of this sketch-

under these circumstance, it wouldhave been dong ^ ^ ^.^ tf ^_ J

r Italian gwral was certainly not in favour with the French monarch at the time
: G t acomo Trivulzio was a sworn foe to Ludovico il Moro, whom he strove for years
September , 499 he marched victorious into Milan at the head

to overthrow. On the

PL. LXVIII.

i iS--taa>&..>xlmi*fnmAt3iL.,

Helio9j-. Dujardin

THE TRIVULZIO MONUMENT. 7

of a French army. In a short time, however, he was forced to quit Milan again when
Lndovico il Moro bore down upon the city with a force of Swiss troops. On the
1 5** of April folloiving, after defeating Lodovico at Novara, Trivulzio once more entered
Milan as a Conqueror, but his hopes of becoming Governatore of the place were soon
wrecked by intrigue. This victory and triumph, historians tell us, were signalised by
acts, of vengeance against the dethroned Sforza, and it might have been particularly
flattering to him that the casting and construction of the Sforza monument were suspended
for the time.

It must have been at this moment as it seems to me that he commissioned
the artist to prepare designs for his own monument, which he probably intended should
find a place in the Cathedral or in some other church. He, the husbatid of Marghe-
rita di Nicolino Colleoni, would have thought that he had a claim to the same distinc-
tion and public homage as his less illustrious connection had received at the hands of
the Venetian republic. It was at this very time that Trivulzio had a medal struck
with a bust portrait of himself and the following remarkable inscription on the reverse :
DEO FAVENTE 1499 DICTVS 10 IA . EXPVLIT LVDOVICV - SF (Sfortiam) DVC -
(ducem) ML1 (Mediolani) . NOIE (nomine) . REGIS FRANCORVM EODEM ANN - (anno) RED'T
(redit) . LVS (Ludovicus). SVPERATVS ET CAPTVS EST AB EO. In the Library of
the Palazzo Trivulzio there is a MS. of Callimachus Siculus written at the end of the
XV th or beginning of the XVI th century. At the beginning of this MS. there is an
exquisite illuminated miniature of an equestrian statue with the name of the general on
the base; it is however very doubtful whether this has any connection with Leonardo's
design.

Nos.j$i 740, which treat of casting bronze, have probably a very indirect bearing
on the arrangements made for casting the equestrian statue of Francesco Sforza. Some
portions evidently relate to the casting of cannon. Still, in our researches about
Leonardo's work on the monument, we may refer to them as giving us some clue to
the process of bronze casting at that period.

-/-^r^v- . -f :

11 :::* f v - ; s

* \ .- Wv

IV. *r: . TS&

t,S^,^,' P;.,;^ yC; k

*i^^$ff ^t
- .fc" :.

rts*" 1 3P ; -'' '' -'j*t*Js *^-' **^ * - - - '

- '- ! ^>. M .1L 'J. - -

Imp. Eudes,

A. 43 a\

706.

STATUA.

OF A STATUE.

2 Se vuoi fare vna figura di marmo
fa ne prima vna ^di terra , la quale, finita
che 1' ai, secca e mettila in vna cassa che
sia ancora capace , dopo la figura tratta
sd'esso loco , a ricieuere il marmo- che
vuoi scoprir 6 vi dentro la figura alia si-
militudine di quella di terra ; di poi ^rnessa
la figura di terra in detta cassa

abbi bacchette ch' etrino 8 ap-
puto per i sua busi , e spingile

dentro tato per ciascuno
9 buso che ciascuna bacchetta
biaca tocca la figura in I0 di-
uersi lochi, e la parte d'esse
bacchette, che resta fori della
"cassa, tigni di nero, e fa il co-
trassegno alia bacchetta e al
12 suo buso in modo che a tua

posta- si scotri; T 3e trai d'essa

cassa la figura di terra e met-
tivi il tuo I4 pezzo di marmo, e

tato leua del marmo , che tutte le j stue bac-
chette si nascondino sino al loro segnio in
detti busi, I6 e per potere questo meglio fare

fa che tutta-la cassa si po I7 ssa- leuare in
alto, e' 1 fondo d'essa cassa resti sepre sotto
I8 il marmo ed a questo modo ne potrai-
leuare coi ferri J 9con gra facilita.

If you wish to make a figure in marble, Some prac-
first make one of clay, and when you have (706^-709)?
finished it, let it dry and place it in a case
which should be large enough, after the
figure is taken out of it, to receive also the
marble, from which you intend to reveal the
figure in imitation of the one in clay. After
you have put the clay figure into
this said case, have little rods
which will exactly slip in to
the holes in it, and thrust them
so far in at each hole that
each white rod may touch the
figure in different parts of it.
And colour the portion of the
rod that remains outside black,
and mark each rod and each
hole with a countersign so that
each may fit into its place.
'Then take the clay figure out
of this case and put in your
piece of marble, taking off so much of the marble
that all your .rods may be hidden in the holes
as far as their marks; and to be the better
able to do this, make the case so that it can
be lifted up ; but the bottom of it will always
remain under the marble and in this way it
can be lifted with tools with great ease.

706. i. desstatua. 2. sevolli. 3. tera . . chellai essecha mettila nvna. 4. chassa chessia anchora [dop atta] "capace". 5. loco
. . [che] schoprir. 7. tera . . chassa . abi bachette. 8. aputo . . esspignile . . tato [che] per ciasschuno. 9. ciassuna ba-
chetta biacha tocha. 10. bachette . . ressta. n. chassa . . effa . . chotrassegnio . . bachetta. 12. sio buso imodo . . atta
. . sisschotri [ettare lasi]. 13. ettrai . . chassa . . tera. 14. pezo . . ettato . . chettutte. r$. bachette . . naschodino
. . aloro. 16. chettutta . . chassa. 17. chasa ressti. 18. acquesto . . cho. 19. chon.
VOL. 11. B

NOTES ON SCULPTURE.

[707-710.

W. P. $-1

707.

Alcvni aho errato a insegniare alii scul-
tori '*^ c ' m "

Some have erred in teaching sculptors to
measure the limbs of their figures with
threads as if they thought that these limbs

parte da essi fili s c i

threads were

708.

MEASUREMENT AND DIVISION OF A STATUE.

A. -)

MlSURE E COPARTITIONE DELLA STATUA.

'Diuidi la testa in 12 gradi, e ciascuno Divide the head into 12 degrees and

^rado diuidi in 12 puti e ciascuno 3puto- each degree divide into 12 points, and each

12 minvti- e i minvti in minimi, e i mi- point into 12 minutes, and the minutes into

"imi I semiminimi. ims and the mmims mto semi mimms -

4Grado -- punto minvto minimo. Degree-point minute minim.

Ah. I. 19*1

709.

1 Le figure di rilievo che pajono I Sculptured figures which appear in motion,

moto-, posandole in pie, per ragione deo will, in their standing position, actually look
cadere jnazi. as if they were falling forward.

w. x.)

710.

Three braces which bind the mould.
[If you want to make simple casts quick-

cassa di sabbione di fiume invmidito con ly, make them in a box of river sand wet-

3 Ferri che cinga la forma. 2 [Se uolli
presti gietti e 3 S enplici, fagli con vna

*atieto.]

ted with vinegar.]

707. i. alchuni . . erato ansegniare. 2. chirchundare. 3. menbr. 4. retondita. 5. circhundati.
70!. i. chopartitionc. a. 12 (parti e] gradi. 3. minvti iminimi e e. 4. grado [minvto] punto.

709. i. pajano . . chadere.

710. Tktit fattoftt art written in ink mid tuisequently crossed through ivith red chalk. 3. chon. 4. sabio . . cho. 6. arai

709. figure di rilitvo. Leonardo applies this term
exclusively to wholly detached figures, especially
to thote standing free. This note apparently refers
to some particular case, though we have no know-
ledge of what that may have been. If we suppose
it to refer to the first model of the equestrian statue
of Francesco Sforza (see the introduction to the
notes on Sculpture) this observation may be regarded

as one of his arguments for abandoning the first
scheme of the Sforza Monument, in which the horse
was to be galloping (see page 2 ). It is also
in favour of this theory that the note is written
in a manuscript volume already completed in I49 2 -
Leonardo's opinions as to the shortcomings of
plastic works when compared with paintings are
given under No. 655 and 656.

'^^^t^^^^

.". ,' VV/^*^"***''**

THE SFORZA MONUMENT.

6 [Quando tu . avrai fatto la 7 forma
sopra il cauallo e tu 8 farai la grossezza
del metallo 9di terra.]

IO Nota nello allegare quante ore va
per cetinajo TI [nel gittare ognuno tenga
stoppato il fornello col I2 suo infocato];
'3[nel dentro di tutta la forma sia inbeue-
rato olio I4 di lin seme o di tremetina; e poi
sia dato vna mano I5 di poluere di borace
e di pece greca con acqua vite, l6 e la forma
di fori inpeciata, accioche stado sotto J 7 terra
1' umido non la ...

2 4 [Per maneggiare la forma grade, fa ne
modello della pi 2 5ccola forma; fa una pic-
cola statia a proportione ; ]

26 [fa le bocche alia forma, metre ch'e
in sul cavallo;]

2 7lJTieni le corna-in molle , e fondile
con colla di pescel z8 pesa le parti 29 della
forma, da che quatita 3di metallo ella a a
essere occupata, ^e tato ne da al fornello,
che 32 a quella parte a a porgere il ^suo
metallo, e questo cognio^scerai a pesare
la terra di quella 35 parte della forma, dove
il forne! 36 lo colla sua quatita a a rispode-
37re, e questo si fa acioche '1 38f orn ello
delle gabe le epia, e che 39dalle gabe non
abbia a socorrere 4 alia testa che sarebbe
inpossibile] ^[gitta nel medesimo 42 gietto
del cavallo 1 sportello della]

[When you shall have made the mould
upon the horse you must make the thickness
of the metal in clay.]

Observe in alloying how many hours are
wanted for each hundredweight. [In cas-
ting each one keep the furnace and its fire
well stopped up.] [Let the inside of all the
moulds be wetted with linseed oil or oil of
turpentine, and then take a handful of pow-
dered borax and Greek pitch with aqua vitae,
and pitch the mould over outside so that
being under ground the damp may not [dam-
age it?]

[To manage the large mould make a model
of the small mould, make a small room in
proportion.]

[Make the vents in the mould while it
is on the horse.]

Hold the hoofs in the tongs, and cast them
with fish glue. Weigh the parts of the mould
and the quantity of metal it will take to fill
them, and give so much to the furnace that
it may afford to each part its amount of metal ;
and this you may know by weighing the clay of
each part of the mould to which the quantity
in the furnace must correspond. And this is
done in order that the furnace for the legs
when filled may not have to furnish metal
from the legs to help out the head, which
would be impossible. [Cast at the same casting
as the horse the little door]

w. xi.]

FORMA DEL CAVALLO.

711.

2 Fa il cavallo sopra gambe di ferro
ferme e stabili in bo^no fondameto, poi lo
inseva e fa gli la cappa di sopra, ilasciado
ben seccare a suolo a suolo, e questa in-
gras s serai tre dita -, di poi arma e ferra
secondo il biso 6 gno; oltre a di questo cava

THE MOULD FOR THE HORSE.

Make the horse on legs of iron, strong
and well set on a good foundation; then
grease it and cover it with a coating, leaving
each coat to dry thoroughly layer by layer;
and this will thicken it by the breadth of
three fingers. Now fix and bind it with

facto. 7. chauallo ettu. S.grosseza. 10. hore va . . cietinaro. n. hognivno . . stopato . . chol. 12. infochato madiriano
ea Q tenpo di stoppi. 13. holio. 14. poi dato. 15. grecha chonacq"a". 16. ella . . chesstado. 17. lomido nolla \\U\\\\\\\\\\\\\\\\\\\
chose. 18. fatte subito chella \\\\\\\\\\\\\\\\\\\\. 19- il sabione di for \\\\\\\\\\\\\\\\\\\\\ azzo cioe di. 2<f. quello^da fforme\\\\\\\\\\\\\\\\\\
chon acieto. 21. e ben \\\\\\\\\\\\\\\. 22. miscia nella forma \\\\\\\\\\ uno quadrello. 23. pesto . e cienere co ciara douo e a ceto.
2tf, manegiare. 25. cholla . . falle una pichola. 26. falle boche. 27. chorna imole effondile cholla di pesscie. 28. pensa
[la forma] le. 30. ella essere ochupata. 31. ettato. 32. acquella parte a porgiere. 33. ecquesto chognio. 34. sscierai . .
tera. 35. forne. 36. cholla . . risspode. 37, ecquesto. 38. gabe Spinteche doubtful. 39. ale . . abiasschorrer. 40. chessa rebe
inpossib. 42. chavallo. 43. sportello della. Here the text breaks off.
711. 2. ghanbe . . esstabile. 3. sondometo . . effagli la chappa. 4. scechare assuolo assuclo . . ecquesta. 5. efferra sechondo. 6. chava

710. The importance of the notes included haps they were crossed out when Leonardo found

under this number is not diminished by the fact himself obliged to give up the idea of casting

that they have been lightly crossed out with red the equestrian statue. In the original the

chalk. Possibly they were the first scheme for some . first two sketches are above 1. I, and the third

fuller observations which no longer exist; or per- below 1. 9.

NOTES ON SCULPTURE.

[712.

la forma, c poi fa la 'grossezza, e poi riepi
la forma a mezza a mezza, 8 e quella in-
tegra, poi con sua ferri cierchiala e 9 cigni
c Ta ricuoci di dctro dove a a toccare il
zo.

DKI. FAR I.A FORMA DI PEZZI.

"Segnia sopra il cavallo finite tutti li
pezzi della for'^ma, di che tu voi vestire
tal cavallo, e nello interrare '<li taglia in
ogni interratura, accioche quado si e fini'sta
la forma che tu la possi cavare e poi ri-
comettere l6 al primo loco colli sua scotri
delli cotrasegni.

l ia b quadretto stara infra la cappa
e'l maschio, cioe l8 ncl uacuo dove a a
stare il brozo liquefatto e questi '^tali qua-
dretti di brozo manterrano li spati della for-
*"ma alia cappa con equal distatia, e per
questo tali "quadretti so di grade inpor-
tantia.

J2 HLa terra sia ruista 2J co rena;

' 4 tollicera, a rcde 25 re, e pagare la co-

2 ?Secca la 28 a suoli. 2 9Fa la forma
di fori 'di giesso per fugire p il tepo
del seccare, ^ 2 e la spesa di legnie, e co
utal giesso ferma li ferri di fori e di
?5 dentro co due dita di > 6 grossezza, fa
terra "cotta.

38 E questa tal forma ^farai j n un dl;
vna mez*za navata di giesso *'ti serue.

JRitasa co ^collae terra over- chiara
d'ovo *e mattone e ro^sume.

iron as may be necessary. Moreover take off
the mould and then make the thickness. Then
fill the mould by degrees and make it good
throughout; encircle and bind it with its irons
and bake it inside where it has to touch the bronze.

OF MAKING THE MOULD IN PIECES.

Draw upon the horse, when finished, all
the pieces of the mould with which you wish
to cover the horse, and in laying on the
clay cut it in every piece, so that when the
mould is finished you can take it off, and
then recompose it in its former position with
its joins, by the countersigns.

The square blocks a b will be between
the cover and the core, that is in the hollow
where the melted bronze is to be; and these
square blocks of bronze will support the
intervals between the mould and the cover at
an equal distance, and for this reason these
squares are of great importance.

The clay should be mixed with sand.

Take wax, to return [what is not used]
and to pay for what is used.

[2 7] Dry it in layers [2 8].

Make the outside mould of plaster, to
save time in drying and the expense in
wood; and with this plaster enclose the
irons [props] both outside and inside to a
thickness of two fingers; make terra cotta.

And this mould can be made in one day ;
half a boat load of plaster will .serve you.

[4 2] Good.

Dam it up again with glue and clay, or
white of egg, and bricks and rubbish.

C. A.

Tutti i capi deMle chiavarde.

712.

All the heads of the large nails.

. . (alia. 7. grosseza. 8. ecquella . cosua . . ec. 9. ella richuoci . . dove attochare. n. pczi. 12. pezi. 13. cheUu . .
vewtire . . chavallo. 14. quado se fini. 15. chcttu . . chavare ricomettere. 16. al p"o" locho cholli . . cotrassegni.
17. infralla chappa elmasscio cioc |dij. 18. uachuo dove asstare . . liquefacto ecquesti. 19. Hsspati. 20. dallalla chappa
chon . . diutatia . . queuto. 22. lera sie. 27. sechalla soli. 28. assu oli. 31. sechare. 32 cspesa. 36. rosseza fatterra.
38. ecquesu. 39. farai nudi voa me. 43. ritasa. 44. etterra 47. ssume.
71*. 12 R. i. lucti i chapi.*

7H. See PI. LXXV. The figure "40," close
to the sketch in the middle of the page between
lines 1 6 and 17 has been added by a collector's
hand.

In the original, below line 21, a square piece
of the page has been cut out about 9 centimetres
by 7 and a blank piece has been gummed into the
place.

Lines 22 24 arc written on the margin. 1. 27 and
28 are close to the second marginal sketch. I. 42 is a
note written above the third marginal sketch and on

the back of this sheet is the text given as No. 642.
Compare also No. 802.

712- See PI. LXXVI, No. i. This drawing ha,
already been published in the "Saggio delle Optre di
L. da Vinci." Milano 1872, PI. XXIV, No. i. But,
for various reasons I cannot regard the editor's
suggestions as satisfactory.. He says: "Veggonsi le
armature di legname colle quali forse venne sagtcnuto il
modello, quando per le noate di Bianca Maria Sfona con
Afassimiliano imperatore, esso fu collocato soUo un area
trionfale davanti al Caste//o."

PL . LXXI

i- -. w ' . . ' A .v . .

-.."'.. . . v ' - N - ^

f ' ' ", '" -'x '''. ' \ i! .< ? - (^

",' ./ " ^ : * ~ ?," ^scrt^/v^

^' TP ' -"'t^T'^ ' 'V*'

.>.-.; '.^

' . ;-s.'--;

': ^ . '

' ';"

::. . >J. J
. -. . , 'i- "'*

- '

y. -ft.

Heliogp Dxyardin.

713- 7H-]

THE SFORZA MONUMENT.

W. XII.]

713.

Queste le
gature 2 vano
di dentro.

I These bin-
dings go in-
side.

w. xin

714.

Sale fatto di stereo vmano
bruciato 2 e ralcinato e fatto-
ne liscia e que^lla distesa
al leto foco, e tutti li ster 4 chi
in simile modo fanno sale, e
quelli 5 sali destillati sono molto
penetrati.

Salt may be made from human
excrements, burnt and calcined,
made into lees and dried slowly
at a fire, and all the excrements
produce salt in a similar way
and these salts when distilled, are
very strong.

714. i. stercho. 2. chalcinato effatto neliscia ecque. 3. disecha alleto focho ettutti lisster. 4. quali. 5. desslilati.

714. VASARI repeatedly states, in the fourth this, it remains doubtful whether I am justified in

chapter of his Introduzione della Scullura, that in having introduced here this text of but little interest,

preparing to cast bronze statues horse -dung was no such doubt can be attached to the sketch which

frequently used by sculptors. If, notwithstanding accompanies it.

NOTES ON SCULPTURE.

[715720.

W. XII I

MODO DI RICUOCERE.

'Questo si potrebbe fare fatto

715-

for-

nello *ferma e pillata.

w. H.

716.

Model* for Ginnetto grosso di messer Galeazzo.

the hone of
the Sforia
monument
(716718). w H j V . 717.

Siciliano di messer Galeazzo.

METHOD OF FOUNDING AGAIN.
This may be done when the furnace is

made [4] strong and bruised.

Messer Galeazzo's big genet.

Messer Galeazzo's Sicilian horse.

C. A. 286 bj 8700]

718.

Misura del siciliano, la ganba dirieto, Measurement of the Sicilian horse the leg

2 in faccia, alzata e distesa. from behind, seen in front, lifted and extended.

C. A. 382*1; 11820)

719.

Ancora si potra dare opera al cauallo di
occasional bronzo che sara gloria Tmortale e eterno
lothe'sTona onore della 2 felice memoria del signore
monument vostro padre e della Iclyta casa Sfor-
zesca.

Again, the bronze horse may be taken in
hand, which is to be to the immortal glory and
eternal honour of the happy memory of the
prince your father, and of the illustrious
house of Sforza.

C 15* (i)|

720.

A 'di 23 d'aprile 1-4-90 comlciai
questo libro e ricomlciai il cavallo.

On the 23 rd of April 1490 I began this
book, and recommenced the horse.

715. i. richuocere. i. potre. 4. pilau. 716. i. gianecto . . galeaz.

717. i. ciciliaoo . . meser galeazo. 718. i. ciciliano. 2. alza.

719. i t written from It/t to ri^kt, i. Anchora si potera . . honore dela. 2. S"gre" vost . . dela.

7*0. chomiciai . . richomiciai.

715. This note in 1. 4 is written below the sketches.

716. 717. These notes are by the side of a
drawing of a horse with figured measurements.

San Severino, the famous captain who married Bianca
the daughter of Ludovico il Moro.

719. The letter from which this passage is here

718. There is no sketch. belonging to this pas- extracted will be found complete in section XXI.
sage. Galeazro here probably means Galeazzo di (see the explanation of it, on page 2).

72i 725-J

THE SFORZA MONUMENT.

Leic. 9 <}] 7 21 -

Vedesi in nelle montagnie di Parma e
Piacetia la moltitudine di nichi e coralli
2 intarlati ancora appiccati alli'sassi, de' quali,
quand'io facevo il gra ^cavallo di Milano,
me ne fu portato vn gra sacco ne^lla mia
fabrica da cierti villani che in tal loco
trovati.

There is to be seen, in the mountains of
Parma and Piacenza, a multitude of shells
and corals full of holes, still sticking to the
rocks, and when I was at work on the great
horse for Milan, a large sackful of them,
which were found thereabout, was brought
to me into my workshop, by certain
peasants.

C. A. 316^; 9580]

722.

Credetelo a me, Leonardo fioretino che
fa il cauallo del duca Francesco di brozo
che non ne bisognia fare stima, 2 perche a
che fare il tenpo di sua vita , e dubito che
per P essene si grade opera, che non la fini-
ra mai.

Believe me, Leonardo the Florentine, who
has to do the equestrian bronze statue of
the Duke Francesco that he does not need
to care about it, because he has work for
all his life time, and, being so great a work,
I doubt whether he can ever finish it.

C. A. 328 b; 983 a] 7 2 3

Del cauallo no diro niete perche cogni-

osco i tepi.

Of the horse I will say nothing because
I know the times.

C. A. 272^; 833 a]

724.

Del marmo operasi dieci arii; 2 io no vo' During ten years the works on the marbles

aspettare che '1 mio pa^gameto passi il have been going on I will not wait for my payment
termine del 4 fine della opera mia. beyond the time, when my works are finished.

C. A. i76<5; 533*]

SEPULCRO DI MESSER GIOVANI JACOMO DA
TREVULZO.

725-

THE MONUMENT TO MESSER GlOVANNI JACOMO
DA TREVULZO.

2 Spesa della 3 manifattu^ra e materisa [2] Cost of the making and materials for The project

del cauallo. the horse [5]. "VilJ"

monument.

731. i. in nelle . . mvltitudine. 2. apichati . . sacho. 3. fabricha.

722. i. me saluo [quel] | "lonar fioretino" cheffa il chauallo . . franc"o" "di brozo" chenone. 2. lesere . . nella.

724. i. marmoperassi. 2. inovo. 3. ghameto. 4. dela.

725. i. giovani iacomo da trevlsa. 3. manifatu. 7. inel . . ellegrame ella. n. soma. 15. pezo. 16. lungha br 4 ellargho br.

722. This passage is quoted from a letter to a
committee at Piacenza for whom Leonardo seems
to have undertaken to execute some work. The
letter is given entire in section XXI. ; in it Leo-
nardo remonstrates as to some unreasonable demands.

723. This passage occurs in a rough copy of
a letter to Ludovico il Moro, without date (see below
among the letters).

724. This possibly refers to the works for
the pedestal of the equestrian statue concerning
which we have no farther information in the MSS.
See p. 6.

725. In the original, lines 25, 12 14, 33 35,
are written on the margin. This passage has been

recently published by G. Govi in Vol. V, Ser. 3 a,
of Transunti , Reale Accademia dei Lined, sed. del
5 Giugno, 1881, with the following introductory note:
"Desidero intanto che sia.no stampati questi pocki fram-
menti perche so che sono stati trascritti ultimamente, e
verranno messi in luce tra poco fuori d' Italia. Li ri-
pubblichi pure chi vuole, ma si sappia almeno che anche tra
noi si conoscevano, e s'eran raccolti da anni per comporne,
quando che fosse, una edizione ordinata degli scritti di
Leonardo."

The learned editor has left out line 22 and
has written 3 pie for 8 piedi in line 25. There
are other deviations of less importance from the
original. '

NOTES ON SCULPTURE.

6 Vno corsiero grade al naturale
coll'omo sopra vuole per la spesa
del metallo ......... due. 500.

7 E per la spesa del ferrameto che ua
in nel modello e carboni e legname e la
fossa per gittarlo 8 e per serrare la forma,
e col fornello doue si de' gittare due. 200.

9 Per fare il modello di terra e
poi di cera ......... due.

10 E per li lauorati che lo netterano

432.

quado fia gittato ....... due. 450.

"In somma sono ..... due. 1582.

12 Spesa de' m^armi della ^sepul-
tura.

'5 Spesa del marmo secodo il
disegnio; jl pezzo del marmo che ua
sotto il cauallo l6 ch'e lungo braccia
4 e largo braccia 2 e oncie 2 e grosso
oncie 9, cetinara 58, a L. 4 e S. 10
per cetinaro ........ due. 58.

17 E per 13 braccia di cornice e
6 6, larga 6 7, e grossa 6 4, cet. 24,

due. 24.

18 E per lo fregio e architrave ch'e
lungo br. 4 e 6 6 , largo br. 2 e
grosso 6 6, cet 20 ...... due; 20.

X 9E per li capitelli fatti di metallo,
che sono 8, vano I tavola 6 5, e
grossi 6 2, a prezzo di 20 ducati 15
per ciascuno montano .... due. 120.

21 E per 8 colonne di br. 2 e 6 7,
grosse 6 4 e x /2 cetinara 20 . . due. 20.

22 E per 8 base che sono in tauola

6 5 e J /2 e alte o 2 cent. 5 . . due. 5.

2 ^E per la pietra dou' e su la
sepultura, luga br. 4 e o 10, larga br. 2
e 6 4 e 1 J 2 2 *centinara 36 ... due. 36.

2 s E per 8 piedi di piedistalli che ua
lunghi br. 8 e larghi o 6 e I J 2 grossi 6
6'/2 26 centinara 20, motano . . due. 20.

2 ?E per la cornice ch'e di sotto,
ch'e luga br. 4 e 6 10, larga br. 2 e
6 5, e grossa 6 4, cet. 32 ... due. 32.

28 E per la pietra di che si fa il
morto ch'e lunga br. 3 e 6 8, larga
br. uno e 6 6, grossa 6 9, cent 30,

due. 30.

2 9 E per la pietra che ua sotto il
morto- ch'e luga br. 3 664, larga

br. uno e 6 2, grossa 6 4 x / 2 . due. 16.

3E per le tauole del marmo
Iterposte infra li piedistalli, che sono
8 e son lughe br. 9, 3'larghe 6 9,
grosse 6 3 cent 8 ...... due. 8.

3 2 In somma sono ..... due. 389.

A courser, as large as life, with the rider
requires for the cost of the metal, due. 500.

And for cost of the iron work which
is inside the model, and charcoal, and
wood, and the pit to cast it in, and for
binding the mould, and including the fur-
nace where it is to be cast . . due. 200.

To make the model in clay and
then in wax due. 432.

To the labourers for polishing it

when it is cast . due. 450.

in all . . due. 1582.

[12] Cost 'of the marble of the
monument [14].

Cost of the marble according to the
drawing. The piece of marble under
the horse which is 4 braccia long, 2
braccia and 2 inches wide and 9 inches
thick 58 hundredweight, at 4 Lire and
10 Soldi per hundredweight . . due. 58.

And for 13 braccia and 6 inches
of cornice, 7 in. wide and 4 in. thick,
24 hundredweight due. 24.

And for the frieze and architrave,
which is 4 br. and 6 in. long, 2 br. wide
and 6 in. thick, 29 hundredweight., due. 20.

And for the capitals made of metal,
which are 8, 5 inches in. square and
2 in. thick, at the price of 15 ducats
each, will come to due. 122.

And for 8 columns of 2 br. 7 in.,
4 T /2 in. thick, 20 hundredweight due. 20.

And for 8 bases which are 5 T / 2 in.
square and 2 in. high 5 hund'. . due. 5.

And for the slab of the tombstone
4 br. 10 in. long, 2 br. 4'/ 2 in. wide
36 hundredweight due. 36.

And for 8 pedestal feet each 8 br. long
and 6 I / 2 in. wide and 6 J /2 in. thick,
20 hundredweight come to ... due. 20.

And for the cornice below which is 4
br. and 10 in. long, and 2 br. and 5 in.
wide, and 4 in. thick, 32 hund 1 . . due. 32.

And for the stone of which the figure
of the deceased is to be made which is 3
br. and 8 in. long, and i br. and 6 in.
wide, and 9 in. thick, 30 hund 1 . . due. 30.

And for the stone on which the figure
lies which is 3 br. and 4 in. long and i
br. and 2 in., wide and 4 T / 2 in. thick due. 16.

And for the squares of marble placed
between the pedestals which are 8 and
are 9 br. long and 9 in. wide, and 3
in. thick, 8 hundredweight . . . due. 8.
in all . . due. 389.

2 e Co egrosso Co 9. 17. 13 br. 18. frego . . lungho . . largho. 19. prezo. 20. ciasscuno. 22. chessono. 25. lungh br.
8 . ellarghi. 28. di ce si . . . br i e o 6, grosa. 29. larga br i e o 2 grosa. 30. infra li piedi di stallo che . . lugh.

/&'

PL LXXItt

' \. t /

:
.

- - ].

B^^fepi'^;$;'/^ : ";. : '

i^^^^^KCvi^^

726.]

THE TRIVULZIO MONUMENT.

33Spesa della 34 manifattu35ra ne'marmi.

3 6 Attorno allo inbasameto del ca-
uallo va figure 8 di 25 ducati Puna,

due. 2OO.

37 E nel medesimo inbasameto ci
va festoni 8 co certi altri ornameti e
di questi 3 V e n'e 4 a prezzo^di du-
cati 15 per ciascuno, e 4 a^prezzo
di 8 ducati Puno due. 92.

39 E per isquadrare dette pietre,

due. 6.

4 Ancora pel cornicione che ua
sotto lo inbasameto del cauallo, ch'e
br. 13 e 6 6 a due. 2 per br. . due. 27.

41 E per 12 br. di fregio, a ducati
5 per br due. 60.

42 E per 12 br. d' architrave, a du-
cati i e J / 2 per br due. 18.

43 E per 3 fioroni che fa soffitta
alia sepultura, a 20 ducati per fiorone,

due. 60.

44 E per 8 colonne accanalate, a

8 ducati Puna due. 64.

4 *E per 8 base, a un ducato Puna,

due. 8.

46 E per 8 piedistalli, de' quali n' e
4 a 10 due. Puno, che ua sopra li
catoni, e 4 a 6 due. Puno . . due. 64.

47 E per isquadrare e incorniciare li
piedistalli, a due due. Puno, che sono 8,

due. 1 6.

48 E per 6tavole con figure e trofei,

a 25 ducati Puno ...... due. 150.

49 E per la scorniciatura della
pietra che ua sotto il morto . . .

due. 40.
s Per la figura del morto a farla

bene due. 100.

s 'Per 6 arpie colli candelieri, a 25

ducati Puna due. 150.

52 Per isquadrare la pietra dove si
posa il morto e sua incorniciatura

due. 20.

S3 In somma due. 1075.
54 In somma ogni cosa insieme
giuta so due. 3046.

[33] Cost of the work in marble [35].

Round the base on which the horse
stands there are 8 figures at 25 ducats
each due.

And on the same base there are 8
festoons with some other ornaments,
and of these there are 4 at the price
of 15 ducats each, .and 4 at the price
of 8 ducats each due.

And for squaring the stones due.

Again, for the large cornice which
goes below the base on which the
horse stands, which is 13 br. and 6 in.,
at 2 due. per br due.

And for 12 br. of frieze at 5 due.
per br due.

And for 12 br. of architrave at
I'/a due. per br due.

And for 3 rosettes which will be
the soffit of the monument, at 20 du-
cats each due.

And for 8 fluted columns at 8
ducats each due.

And for 8 bases at i ducat each,

due.

And for 8 pedestals, of which 4 are
at 10 due. each, which go above the
angles; and 4 at 6 due. each . . due.

And for squaring and carving the
moulding of the pedestals at 2 due.
each, and there are 8 .... due.

And for 6 square blocks with figures
and trophies, at 25 due. each . . due.

And for carving the moulding of
the stone under the figure of the
deceased due.

For the statue of the deceased, to
do it well due.

For 6 harpies with candelabra, at 25
ducats each due.

For squaring the stone on which
the statue lies, and carving the moul-
ding due. 20.

in all . . due. 1075.

The sum total of every thing added
together amount to due. 3046.

200.

92.
6.

27.
60.

18.

60.

64.

16.

150.

40.

100.

150.

G. 43 a]

726.

ZECCA DI ROMA.

MINT AT ROME.

2 Puosi ancora fare sanza molla ; 3 Ma It can also be made without a spring. The mint of

sempre il maschio di sopra debbe 4 stare But the screw above must always be joined
congiunto alia parte della guSaina mobile; to the part of the movable sheath:

31. larghi. 36. va. 37. li va fessto 8 co . . queste. 38. ciasscuna . . luna. 39. issguadare. 40. cornicone. 41. frego.
46. piedistalle. 47. issguadrare esscornicare lipiedisstallo . . chessono . . luma. 48. trufei. 50. a ff aria. 52. essa scornica-
tura. 54. soma onicossa . . guta so due.

726. See PI. LXXVI. This passage is taken from a note book which can be proved to have been
used in Rome.
VOL. 11.

THE MINT AT ROME.

[727. 728.

6 Tutte le monete che ^ non ano jl cier-
chio 8 intero, non sieno accisettate per
buone, e a 10 fare la perfectione del lor
"cierchio e neciessario I2 che in prima le '
mone^te sie tutte di perfetto cir^colo, e
a fare questo I5 e' si debbe in prima fare
vna l6 moneta perfetta in peso I7 e in larghez-
za e grossez l8 za, e di questa tal lar^ghezza
e grossezza sie fat 20 te molte lamine, tira-
2I te per una medesima tra 22 fila, le quali re-
stera 2 no a modo di righe, e 24 di queste
tali righe si 2 5stanpl fuori le monete 26 tode,
a modo che si fa 2 7no i criuelli da casta-
2 *gnie, e queste mone 29 te poi si stanpino
nel -J u modo sopra detto ecc.

3 J I1 vacuo della stanpa ^ 2 sia piu largo
da alto 33 che da basso vni^formemente,
35 e insesibile.

3 6 Questo taglia le monete. di perfetta
ro37tondita e grossezza e peso e ris 38 parmia
1'omo che taglia e pesa, e 39rispiarmia Porno
che fa le monete *tonde; aduque sol pas-
sa per li mani 4'del trafilatore e dello
stanpato' 2 re e fa monete bellissime.

All coins which do not have the rim com-
plete, are not to be accepted as good; and
to secure the perfection of their rim it is
requisite that, in the first place, all the
coins should be a perfect circle; and to do
this a coin must before all be made perfect
in weight, and size, and thickness. There-
fore have several plates of metal made of
the same size and thickness, all drawn through
the same gauge so as to come out in strips.
And out of [24] these strips you will stamp
the coins, quite round, as sieves are made
for sorting chestnuts [2 7]; and these coins
can then be stamped in the way indicated
above; &c.

[31] The hollow of the die must be uni-
formly wider than the lower, but impercep-
tibly [3 5].

This cuts the coins perfectly round and
of the exact thickness, and weight; and saves
the man who cuts and weighs, and the man
who makes the coins round. Hence it passes
only through the hands of the gauger and of
the stamper, and the coins are very superior.

(i)]

727.

POLUERE DA MEDAGLIE.

2 Stoppini incombustibili di fungo ridot-
to in poluere, 3 stagnio bruciato e tutti i
metalli, ^allume scagliuolo, sfumo di fucina
On the da ottone, 6 e ciascuna cosa inumidisci con.
c medfis acquauite o maluagla TO acieto forte di
(727. 7*8). g r a ? u j no bianco , o di quella prima acqua
8 di trementina destillata, o olio, pure che
poco sia 9invmidita , e gitta in telaroli.

POWDER FOR MEDALS.

The incombustible growth of soot on wicks
reduced to powder, burnt tin and all the
metals, alum, isinglass, smoke from a brass
forge, each ingredient to be moistened,
with aqua vitae or malmsey or strong
malt vinegar, white wine or distilled extract
of turpentine, or oil; but there should be
little moisture, and cast in moulds.

Mz. o'J

728.

DELLO INPROTARE MEDAGLIE.

Polta di smeriglio mista con acqua vite 2 o
scaglia di ferro con aceto , o cenere di foglie
di noce -, o cenere 3 di paglia sottilmete trita.

OF TAKING CASTS OF MEDALS.

A paste of emery mixed with aqua vitae, or
iron filings with vinegar, or ashes of walnut
leaves, or ashes of straw very finely powdered.

736. i. zeccha di roma. 2. Puossi anchora. 3. masscio. 4. chom giunto . . ghu. 9. ectate . . eaf. 10. perfectione. 12. prima
ne mone. 13. perfecto. 14. cholo e afiare. 15. e si . . in p"a". 16. perfecta. 18. quessta. 19. sie fac. 24. queste . . sis.
26. chessi. 28. ecqueste. 29. sisstan pino. 30. decto ele. 31. vachuo. 32. larcho. 33. chedda. 36. Quessto. 37. grosseza
eppeso eriss. 38. spiarma . . chettaglia eppesa. 39. rispiarma . . falle. 40. istanpito. 42 effa.

727. i. stopini inchonbusstibili. 3. brusato ettutti. 4. alume schagliolo. 6. essciasschuna . . inumidissci con acq"a". 7. biancho
o di ella prima acq"a". 8. desstillata o holio.

7a8. i. polta di smeriglo . . acq"a". 2. ho cenere. 4. inolto [inp] in . . battutto. 5. radopiato [ere] essitiene. 6. accochettal

726. See PI. LXXVI No. 2. The text of lines
31 35 stands parallel 1. 24 27.

Farther evidence of Leonardo's occupations and
engagements at Rome under Pope Leo X. may be
gathered from some rough copies of letters which

will be found in this volume. Hitherto nothing
has been known of his work in Rome beyond some
doubtful, and perhaps mythical, statements in Vasari.
727. The meaning of scagliuolo in this passage is
doubtful.

L. LZXIV

, j'

' if

729.]

ON MEDALS AND ON STUCCO.

4 II diametro si presta inuolto in nel
piobo , e battuto con martello s e disteso
piv volte; tal piobo e raddoppiato e si
tiene involto ne! 6 la carta, accioche tal
poluere no si versi, e poi fondi il piobo e
la pol7vere vi e di sopra al pionbo fonduto,
la qual poi sia fregata infra due 8 piastre
d'acciaio tanto si poluerizi bene, di poi
lauala coll' acqua da partire 9 e risoluerassi la
negrezza del ferro, e lasciera la poluere
netta;

. IO Lo smeriglo in pezzigrossi si ro pecol
metterlo sopra vn panno in mol IT ti doppi,
e si percuote per fianco col martello, e
cosl se ne va; poi mischia 11 I2 a poco a
poco, e poi si pesta co facilita, e se tu lo
tenessi sopra 1'ancu^dine, mai lo roperesti,
essendo cosl grosso.

^Chi macina li smalti debbe fare tale
esercitio sopra le pias is tre d'acciaio, ten-
perato col macinatojo da conio, e poi met-
ter l6 lo nell' acqva forte, la qual risolue
tutto esso acciaio che si e ^cosumato e
misto con esso smalto e lo fece nero, on-
de poi I8 rima purificato e netto, e se tu lo
macini sul porfido, esso '9 porfido si con-
suma e si mischia collo smalto e lo guasta,
20 e 1' acqua da partire mai lo lieva da dosso,
perche no puo 2I risoluere tale porfido.

22 Se volli fare colore bello azzurro risolui
lo smalto, fatto 2 ^ col tartaro, e po' li leva il
sal da dosso.

2 *L'ottone vetrificato fa bello rosso.

The diameter is given in the lead
enclosed; it is beaten with a hammer and
several times extended; the lead is folded and
kept wrapped up in parchment so that the
powder may not be spilt; then melt the lead, and
the powder will be on 'the top of the melted
lead, which must then be rubbed between two
plates of steel till.it is thoroughly pulverised;
then wash it with aqua fortis, and the black-
ness of the iron will be dissolved leaving
the powder clean.

Emery in large grains may be broken by
putting it on a cloth many times doubled,
and hit it sideways with the hammer, when
it will break up; then mix it little by little
and it can be founded with ease ; but if you
hold it on the anvil you will never break
it, when it is large.

Any one who grinds smalt should do it
on plates of tempered steel with a cone
shaped grinder; then put it in aqua for-
tis, which melts away the steel that may
have been worked up and mixed with the
smalt, and which makes it black; it then
remains purified and clean; and if you
grind it on porphyry the porphyry will work
up and mix with the smalt and spoil it, and
aqua fortis will never remove it because it
cannot dissolve the porphyry.

If you want a fine blue colour dissolve
the smalt made with tartar, and then remove
the salt.

Vitrified brass makes a fine red.

75 6}

729.

STUCCO.

2 Fa stucco sopra il gobbo del

di giesso, ^U quale sia coposto di venere
e * mercuric, e impasta bene sopra esso
gobbo Scon equal grossezza di costa di col-
tello fatta colla 6 sagoma, e questa copri co
coperchio di canpa?na da stillare, e riavrai
il tuo vmido co 8 che inpastasti, 'el rimanete
asciugga bene e poi I 9 foca e batti over

Place stucco over the prominence of Oa stucco

the which may be composed of (?29 '

Venus and Mercury, and lay it well
over that prominence of the thickness of
the side of a knife, made with the ruler
and cover this with 'the bell of a still, and
you will have again the moisture with which
you applied the paste. The rest you may dry

ella poi. 7. here vi e. S.'piasstre dacaio . . lavolo chollacq"a". 9. la negredine del ferro ellascieara. 10. lossmeriglo . . chol
. . imol. ii. essi perchote per fiancho . . misscagle. 12. a pocho appocho . . essettu. 13. rSperessti . . chosi. 14. lis-
smalti. 15. chol macintatoio. 16. accaio chesse. 17. missto . . ello. 18. purifichato ennetto essettullo. 19. essimissca col-
lossmalto ello. 20. ellae qua dosso [s] perche no po. 22. azurro . . lossmalto. 24. vetrifichato.

719. i. stuccho. 2. fasstucho . . ghobb del . a engui di giesso. 3. copossto di erenev e. 4. oirucrem e inpassta . ghobbo.
5. grosseza . . cholla. 6. saghoma ecquessta . . choperchio. 7. dasstillare erriarai. 8. inpasstassti . . assciugha. 9. focha

729. In this passage a few words have been
written in a sort of cipher that is to say back-
wards; as in 1. 3 erenev for Venere, 1. 4 oirucrem for
Mercurio, I. 12 il orreve co ecarob for il everro (?) co
borace. The meaning of the word before "di giesso"

in 1. I is unknown; and the sense, in which sagotna
is used here and in other passages is obscufe.
Venere and Mercurio may mean 'marble* and 'lime', of
which stucco is composed.

12. The meaning of orreve is unknown.

ON CASTING BRONZE.

[730734-

brunisci co buon brunitoio e fa I0 grosso
inverse la costa.

STUCCO.

well ; afterwards fire it, and beat it or burnish it
with a good burnisher, and make it thick towards
the side.

STUCCO.

"Poluerizza il . . . . co borace e.acqua, Powder . . . with borax and water

in'^pasta e fa stucco, e poi scalda in mo- to a paste, and make stucco of it, and then

do si sec' 4 chi, e poi vernica con foco in heat it so that it may dry, and then varnish

modo che lustri. it, with fire, so that it shines well.

C. A. 313 a 5 951 a]

STUCCO DA FORMARE.

730-

STUCCO FOR MOULDING.

2 Togli-butiro parti 6-, ciera parti 2-, Take of butter 6 parts, of wax 2 parts,

^e tata farina volatile che, messa sopra *le and as much fine flour as when put with

cose strutte , le facci sode a modo s di cera these 2 things melted, will make them as

o di terra da formare. firm as wax or modelling clay.

COLLA.

?Togli mastice tremetina stillata 8 e
biacca.

GLUE.

Take mastic, distilled turpentine and
white lead.

s. K. M. in 50 a]

731-

DA GITTARE.

To CAST.

2 II tartaro bruciato e pol^verizzato col Tartar burnt and powdered with pla-

on brome giesso e gittaHo fa che esso giesso si ster and cast cause the plaster to hold to-
s tiene insieme poi, ch' e ricot 6 to, e poi gether when it is mixed up again ; and then

(731-740). nell' acqua si disfa.

it will dissolve in water.

s. K. M. m. 53]

PER GITTARE BROZO IN GIESSO.

732-

To CAST BRONZE IN PLASTER.

2 Togli per ogni 2 scodelle di giesso Take to every 2 cups of plaster i of

una di ^corno di bo bruciato e mischia ox-horns burnt, mix them together and make
Isieme *e gitta. your cast with it.

S. K. M. II. i 95 a]

733-

Quado voi gittare di ciera, abbrucia la When you want to take a cast in wax, burn

sciuma 2 con una candela, e'l gietto verra the scum with a candle, and the cast will
sanza busi. come out without bubbles.

s. K. M. in. 55*) 734-

2 ocie di giesso da libbra 2 di metallo ;
3noce che fa simile alia *curva.

2 ounces of plaster to a pound of metal ;
walnut, which makes it like the curve.

. . brunissci co bio brunitoio effa. 10. chossta. ti. stuccho. 12. il orreve co ecarob e acq"a" in. ij. passta effa stucho
eppoi scal"d"a. 14. eppoi vcrnicha con vocho . . lusstri.

730. i. stucho. 2. toli bituro parte . . parte. 4. chose. 5. tera. 7. tomastice temetina. 8. biaccha.

731. 2. tartero. 3. verizato .chol. 4. hvsso.. 5. tiene sieme . . rico. 6. acq"a".
739. i. giesso i di. 3. bruciata e misscia.

733. i. abrucia. t. chandela. 734. i. libra.

734. The second part of this is quite obscure.

2.C7

%"'' -

. . t V irf

Ulf/lW^ *WY^ 4*r<fy/ *te/>*f] ^f*>' ^

-.^?/f '^triJ ^> J^>^'*Y , *r-*/^ r -"* (
]^1 ^j^^ v &<f>i ft J?h W Sq "''*' v->

: ;

ij>/*/H^ v *"** " T ' f ' < * lrf r- " r ? -

!,IS4 .-> *-WU//ih Wt'-w/-W" '-"'* '"Cf

_ t. ~4L A-X'. ii<tAA- J "

^ v ^'HT;

Imp, Eudes.

735 737-]

ON CASTING BRONZE.

S. K. M. III. 56 a]

735-

[Terra asciuta 16 2 libbre, 100 libbre di
metallo 3 la bagniata terra 20, 4 di bagniato
100, di meta, 5 che cresce 4 libbre d'acqua,
6 una di cera, una libbra di me7tallo, al-
quato maco, 8 cimatura co terra, 9misura per
misura.]

[Dried earth 16 pounds, 100 pounds of
metal wet clay 20, of wet 100, half,
which increases 4 Ibs. of water, i of wax,
i Ib. of metal, a little less, the scrapings
of linen with earth, measure for measure.]

52*] 736.

Tal fia il gietto 2 qual fia la stapa.

Such as the mould is, so will the cast be.

Tr. 52]

COME SI DEBBONO PULIRE I GIETTI.

2 Farai uno mazzo di
fila di ferro, grosso come
spaghetto, ^e coll' acqua rv___
fregherai, tenedo sotto uno *^
tinello, accio no facci 4fago
sotto.

737-

HOW CASTS OUGHT TO BE POLISHED.

Make a bunch of iron
wire as thick as thread, and
scrub them with [this and]
water; hold a bowl underneath
that it may not make a mud
below.

COME si DE' LEUARE i RICCI D'EL BROZO.

6 Farai uno palo di ferro che sia a uso
d'uno largo scarpello, 7 e co quello freghe-
rai su per quelle creste del brozo, che
rimarrano 8 sopra i gietti delle bobarde,
che diriuano dalle schiappature della 9 forma,
ma fa che '1 palo pesi bene , e' colpi
sieno lughi e gradi.

FACILITA DI FONDERE.

11 Allega prima una parte del metallo
alia manica, di poi lo metti I fornace,
12 e questo fara prlcipio col suo bagnio al
fondere del rame.

PER PROVEDERE AL RAME CHE SI FREDDASSE
NELLA FORNACE.

** Quando il rame si fredasse nella
fornace fa che subito , quado tu te n'avedi,
j sdi tagliarlo co frugatojo metre ch'eli e-
I paniccia , overo se fusse I6 iteramete
raffreddato, taglialo, come si fa il piobo, co
larghi e grossi scar I7 pelli.

HOW TO REMOVE THE ROUGH EDGES FROM
BRONZE.

Make an iron rod, after the manner of
a large chisel, and with this rub over those
seams on the bronze which remain on the
casts of the guns, and which are caused by
the joins in the mould; but make the tool
heavy enough, and let the strokes be long and
broad.

TO FACILITATE MELTING.

First alloy part of the metal in the
crucible, then put it in the furnace, and this
being in a molten state will assist in beginn-
ing to melt the copper.

TO PREVENT THE COPPER COOLING IN THE

FURNACE.

When the copper cools in the furnace, be
ready, as soon as you perceive it, to cut it
with a long stick while it is still in a paste;
or if it is quite cold cut it as lead is cut
with broad and large chisels.

735. i. assciutta. 2. libre 100 Ibbre. 5. cressie. 4. librdacq"a". 6. i di . . * libra.

737. i. debe. 2. fara i mazo . . spagetto. 3. echollacq"a" frecherai . . i tinello. 6. 5 palo . . chessia . . largho. 7, cho . . rima.

8. isciappature. 9. maffa . . chalpi. n. J parte . . manicha. 12. ecquesto . . chol . . derame. 13. chessi fredassi.

14. chessubito. 15. cho . . imetre . . overo [mete] seffussi. 16. raffredo taglalo chome . . cho chargi . . schar. 18. aflfare
1 . 19. affare i . libre fallo . . cho 2006 libr. 20. ciasschuno . . libr.

735. The translation is given literally, but the meaning is quite obscure.

ON CASTING BRONZE.

[738. 739-

AVESSI A FARE VNO GRA GIETTO.

avessi a fare uno gietto di cento

IF YOU HAVE TO MAKE A LARGE CAST.

If you have to make a cast of a hundred

mila libbre, falo co 2 fornelli con 2000 thousand pounds do it with two furnaces and
libbre 20 per ciascuno o Isino . in 3000 with 2000 pounds in each, or as much as

libbre il piv.

r. 5J|

3000 pounds at most.

738-

ICOME FARE BENE A ROPERE VNA GRA MASSA
DI BROZO. 1

2 Se volli ropere una gra massa di
brozo sospedilo prima, ^poi H
fa da 4 lati uno muro a vso di
truogo di mattoni, e fa 11 gra
foco , 4 e quado e be rosso, dali
uno colpo con vno s gra peso
levato in alto co gra forza.

HOW TO PROCEED TO BREAK A LARGE MASS
OF BRONZE.

If you want to break up a large mass of
bronze, first suspend it, and then
make round it a wall on the four sides,
like a trough of bricks, and make
a great fire therein. When it is
quite red hot give it a blow with a
heavy weight raised above it, and
with great force.

Tr. 54]

739-

11 DEL FARE VNIRE IL PIOBO CON ALTRO
METALLO.1

TO COMBINE LEAD WITH OTHER METAL.

2 Se volessi per masseritia mettere il If you wish for economy in combining

piobo nel metallo e per sopire . alia soma lead with the meta] in order to lessen the
' dello stagnio che si richiede nel metallo ,
allega prima il piobo collo 4 stagnio e
poi metti sopra il rame foduto.

amount of tin which is necessary in the me-
tal, first alloy the lead with the tin and then
add the molten copper.

II COME SI DEBE FONDERE IN UNO FORNELLO-t HOW TO MELT [METAL] IN A FURNACE.

6 II fornello de' essere ifra 4.
pilastri be fodati.

1 DELLA GROSSEZZA DELLA CAPPA.H

8 La cappa no debe prevalicare la
grossezza di 2 dita , e debesi inter-
rare ^ in quatro volte . sopra la terra

sottile e poi bene annare, I0 e sia
sola mete ricotta di detro e dato

poi sottilmete di cenere e bouina.

DELLA GROSSEZZA DELLA BOBARDA.

12 La bobarda de' essere da 600 libbre
di ballotta 1 su, co questa regola; X 3farai la
misura del diametro della ballotta e quel-

The furnace should be between
four well founded pillars.

OF THE THICKNESS OF THE COATING.

The coating should not be more than two
fingers thick, it should be laid on in four
thicknesses over fine clay and then well
fixed, and it should be fired only on
the inside and then carefully covered
with ashes and cow's dung.

OF THE THICKNESS OF THE GUN.

The gun being made to carry 600 Ibs.
of ball and more, by this rule you will take
the measure of the diameter of the ball and

738. i. be a . . 1 gra. 2. * gra. 3. j muro . . effa . . focho. 4. ecquado . . dallt i colpi chon.

739. i. chol. 2. e per soperire. 3, chessi . . cholo. 4. eppoi . . arame. 5. fondere i fornello. 7. grosseza . . chappa. 8. chappa
. . prevalichare la grosseza debessi. 9. gutro . . soctile. 10. cssia . . richotta. n. grosseza. 12. Hbr. 13. ba"lo"ta . . dia-

PL IXXV1

V '

K,-~, <L

I**

PIMMPM

',%J

*-.- +' *

740.]

ON CASTING.

la diuidi -16- parti, T *e una d'esse parti-
fia la grossezza dinazi e la meta sepre
piv rieto, I5 e se la ballotta fia di libbre 700,
J / 7 del diametro della ballotta fia la sua
l6 grossezza dinazi , e se la ballotta- fia
800-, 1'ottavo del suo diametro ^dinazi, e
se 900- '/s e J /2 e se IOO T /9-

divide it into 6 parts and one of these parts
will be its thickness at the muzzle; but at the
breech it must always be half. And if the ball
is to be 700 Ibs., y 7 th of the diameter of
the ball must be its thickness in front; and
if the ball is to be 800, the eighth of its
diameter in front; and if 900, Ygth
VzP/ie], and if 1000, Y 9 th.

DELLA LUGHEZZA DELLA TROBA BELLA BOBARDA. OF THE LENGTH OF THE BODY OF THE GUN.

^Se voi ch'ella gitti una ballotta di
pietra fa la lughezza della troba 20 in 6-0
insino I 7 ballotte , e se la ballotta fusse
di ferro , fa 2I detta troba -Isino in 12 bal-
lotte , e se la ballotta fusse di 22 piobo-
farai la insino in diciotto ballotte, dico
quado la bobarda 2 ^avesse la bocca atta
a ricieuere in se da 600 libr di ballotta
di pietra I su.

DELLA GROSSEZZA DE' PASSA VOLANTI.

2 sLa grossezza dinazi de' passavolanti
no deve passare dalla meta 26 Isino al
terzo del diametro della ballotta, E la lu-
ghezza da 30 Isino I 36 2 7 ballotte.

If you want it to throw a ball of stone,
make the length of the gun to be 6, or as
much as 7 diameters of the ball; and if the
ball is to be of iron make it as much as
12 balls, and if the ball is to be of lead,
make it as much as 18 balls. I mean
when the gun is to have the mouth fitted
to receive 600 Ibs. of stone ball , and
more.

OF THE THICKNESS OF SMALL GUNS.

The thickness at the muzzle of small guns
should be from a half to one third of the dia-
meter of the ball, and the length from 30
to 36 balls.

Tr. 55] 740

U DELLO ILLOTARE IL FORNELLO DI DETRO.U

2 II fornello debbe inazi che tu Iforni

il metallo essere illotato di terra
Valenza, 3 e sopra quella cienere.

KDEL RISTORARE 1L METALLO, QUADO
RIVOLESSE FREDDARE.t

OF LUTING THE FURNACE WITHIN.

The furnace must be luted before you
di put the metal in it, with earth from Valenza,
and over that with ashes.

OF RESTORING THE METAL WHEN IT IS BECO-
MING COOL.

s Quado tu vedi il brozo volersi co- When you see that the bronze is congealing

gielare tolli legnie di salice, schiappate take some willow -wood cut in small chips
6 sottilmete, e co quelle fa foco. and make up the fire with it.

TIL.A CAGIONE DEL COGIELARSI. If THE CAUSE OF ITS CURDLING.

8 Dico la cagione d'essa cogielatione I say that the cause of this congealing

derivar spesse volte da troppo foco 9 e often proceeds from too much fire, or from
ancora da legnie mal secche. ill-dried wood.

If A CONOSCIERE LA DISPOSITIONS DEL FOCO. If . To KNOW THE CONDITION OF THE FIRE.

."Il foco conoscierai, quado fia bono e You may know when the fire is good

vtile , alle fiame chiare, e se uedrai I2 le ' and fit for your purpose by a clear flame,

mitro. 14. e i . . grosseza . . ella. 15. esse . . di br 700 . . balotta . . diamitro. 16. grosseza . . sella . . diamitro. 17. esse
. . | e ese. 18. lugeza. 19. * ballotta . . lugeza. 20. essella . . fussi. 21. essela . . fussi. 23. avesse . la bocha. 24. gro-
sseza. 25. grosseza . . debono. 26. diamitro . . lugeza.

740. i. ilotare. 2.chetti . . tera di ualeza. 4, uolessi fredare. 5. chogielare . . sciapate. 6. cho. 8. dicho la chagione . . dirivar.
9. anchora . . seche. 10. focho. n. conosscierai . . ale . . esse uederai. 12. effinire co. 13. arai . . acq"a". 14. alegare.

740. 1. 2. Terra di Valenza, Valenza is north of Alessandria on the Po.

ON CASTING.

[740-

pute d'esse flame turbe e finire co molto
fumo , no te ne fidare, e massime '3qua-
do avrai il bagnio quasi in acqua.

IDELLO ALLEGARE IL METALLO.!

'5 II metallo si uole fare vniversalmete
nelle bobarde co 6 o uisino 8 l6 per cieto ,
cioe 6 di stagnio sopra cieto di rame, e
quato meno ve ne metti, ^piv sicura fia
la bobarda.

IQlJADO SI DEBE ACC&PAGNIARE LO STAGNIO

COL RAME.1

19 Lo stagnio col rame si debbe met-
tere quado ai il rame codotto in acqua.

ICOME SI DEBE AVMETARE IL FONDERE-U

21 II fondere fia da te avmetato quado
sara codotto il rame in 2 /3 " m acqua , al-
lora con v legnio di castagnio ispesso
rimaneggerai il rima z: nete del rame an-
cora Itero ifra la parte fonduta.

and if you see the tips of the flames dull and
ending in much smoke do not trust it, and
particularly when the flux metal is almost fluid.

OF ALLOYING THE METAL.

Metal for guns must invariably be made
with 6 or even 8 per cent, that is 6 of tin
to one hundred of copper, for the less you
put in, the stronger will the gun be.

WHEN THE TIN SHOULD BE ADDED TO THE
COPPER.

The tin should be put in with the copper
when the copper is reduced to a fluid.

HOW TO HASTEN THE MELTING.

You can hasten the melting when 2 /jds o f
the copper is fluid; you can then, with a
stick of chestnut-wood, repeatedly stir what
of copper remains entire amidst what is
melted.

15. metalo. 17. sichura. 18. acopagniare . . chol. 19. acq"a". 21. datte. 22. chastagnio . . rimanerai.

2.5

Introductory Observations on the Architectural Designs
(XII), and' Writings on Architecture (XIII).

Until now very little has been known regarding Leonardo's labours in the domain
of Architecture. No building is known to have been planned and executed by him, though
by some contemporary writers incidental allusion is made to his occupying himself with
architecture, and his famous letter to Lodovico il Moro, which has long been a
well-known document, in ivJiich he offers his service as an architect to that prince,
tends to confirm the belief that lie zvas something more than an amateur of the art.
This hypothesis has lately been confirmed by the publication of certain documents, pre-
served at Milan , showing that Leonardo was not only employed in preparing plans but
that he took an active part, with much credit, as member of a commission on public
buildings; his name remains linked with tJie history of the building of the Cathedral at
Pavia and that of the Cathedral at Milan.

. Leonardo's writings on Architecture are dispersed among a large number of MSS.,
and it would be scarcely possible to master their contents witJiout the opportunity
of arranging, sorting arid comparing the whole mass of materials, so as to have some
comprehensive idea of the whole. The sketches, when isolated and considered by- them-
selves, might appear to be of but little value; it is not till we understand their
general purport, from comparing them with each other, that we can form any just esti-
mate of their true worth.

Leonardo seems to have had a project for writing a complete and separate treatise
on Architecture, such as his predecessors and contemporaries had composed Leon Battista
Alberti, Filar ete, Francesco di Giorgio, and perhaps also Bramante. But, on 'the other
hand, it cannot be denied that possibly no suck scheme was connected with the isolated
notes and researches, treating on special questions, which are given in this work; that
he was merely "working at problems in which, for some reason or other he took a
special interest.

A great number of important buildings were constructed in Lombardy during the

period between 1472 and 1499, and among them there are several by unknown arcJntects,
VOL. n. D

2 6 INTRODUCTION TO ARCHITECTURE.

of so high an artistic merit, that it is certainly not improbable that cither B ram ante or
Leonardo da Vinci may have been, directly or indirectly, concerned in thdr erection.

Having been engaged, for noiv nearly twenty years , in a thorough study of Bra-
mantis life and labours, I have taken a particular interest in detecting the distinguishing
marks of his style as compared with Leonardo's. In 1869 I made researches about tJ it-
architectural drawings of the latter in the Codex Atlanticus at Milan, for the purpose of
finding out, if possible the original plans and sketches of the ciiurcJies of Santa Maria delle
Grazie at Milan, and of the Cathedral at Pavia, which buildings have been supposed to be
the work both of Bramante and of Leonardo. Since 1 876 / have repeatedly examined
Leonardo's architectural studies in the collection of his manuscripts in the Institut de
France, and some of these I have already given to the public in my work on "Les Pro-
jets Primitifs pour la Basilique de St. Pierre de Rome", PL 43. In 1879 / had the
opportunity of examining the manuscript in the Palazzo Trivulzio at Milan, and in \ 880
ZX Richter showed me in London the manuscripts in the possession of Lord AsJiburnJiam,
and those in the British Museum. I have thus had opportunities of seeing most of
Leonardo's architectural drawings in the original, but of the manuscripts themselves I
have deciphered only the notes which accompany the sketches. It is to D r Richter's
exertions that we owe the collected texts on Architecture which are now published, and
while he has undertaken to be responsible for the correct reading of t/ie original texts,
he has also made it his task to extract the wJiole of the materials from the various MSS.
It has been my task to arrange and elucidate the texts under Jlie heads which have
been adopted in this work. MS. B. at Paris and tJie Codex Atlanticus at Milan arc the
chief sources of our knowledge of Leonardo as an architect, and 1 have recently subjected
these to a thorough re-investigation expressly with a view to this work.

A complete reproduction of all Leonardo's architectural sketches has not, indeed,
been possible, but as far as the necessarily restricted limits of the work have allowed > the
utmost completeness has been aimed at, and no efforts have been spared to include every
thing that can contribute to a knowledge of Leonardo's style. It would have been very
interesting, if it had been possible, to give some general account at least of Leonardo's
work and studies in engineering, fortification, canal-making and the like, and it is
only on mature reflection that we have reluctantly abandoned this idea. Leonardo's
occupations in these departments have by no means so close a relation to literary work,
in the strict sense of the word as we are fairly justified in attributing to his numerous
notes on Architecture.

Leonardo's architectural studies fall naturally under two heads :

I. Those drawings and sketches, often accompanied by short remarks and expla-
nations, which may be regarded as designs for buildings or monuments intended to be
built. With tfiese there are occasionally explanatory texts.

II. 77ieoretical investigations and treatises. A special interest attaches to these
because they discuss a variety of questions which are of practical importance to this day.
Leonardo's theory as to the origin and progress of cracks in buildings is perhaps to
be considered as unique in its way in the literature of Architecture.

HENRY DE GEYM&LLER

PL LXXVn.

2.7

XII.

Architectural Designs.

I. Plans for towns.

A. Sketches for laying out a new town with a double system of high-
level and low-level road-ways.

PI. LXXVII, No. i (MS. B, 15*). A general view of a town, with the
roads outside it sloping up to the high-level ways within.

PL LXXVII, No. 3 (MS. B, 16*, see No. 741; and MS. B. 15*, see
No. 742^ gives a partial view of the town, with its streets and houses, with
explanatory references.

PI. LXXVII, No. 2 (MS. B, 15*; see No. 743). View of a double
stair caise with two opposite flights of steps.

PL LXXVIII, Nos. 2 and 3 (MS. B, tf a ). Sketches illustrating
the connection of the two levels of roads by means of steps. The lower gal-
leries are lighted by openings in the upper roadway.

B. Notes on removing houses (MS. Br. M., 270^, see No. 744^.

B. i6a]

74 I.

Le strade m sono piv alte che le strade The roads m are '6 braccia higher than

/-.y- braccia 6., e ciascuna 2 strada de' es- the roads/ s, and each road must be 20

sere larga braccia 20, e avere '/ braccio braccia wide and ^ have % braccio slope from

,. , j .^ the sides towards the middle: and in the

di calo dalle stremita 3 a l mezzo, e m esso mi(Mle let there be at every braccio an

mezzo sia a ogm braccio uno braccio di opening, one braccio long and one finger

4 fessura, largo uno dito , dove 1' acqua che wide, where the rain water may run off into

741. i. strade . [m] M . . chelle. 2. largbr . . chalo. 3. mezo [eda esse stremita einesso mezo . . br unobr. 4. deba. 6. largeza

ARCHITECTURAL DESIGNS.

[742-744.

, ue debba scolare nelle ca've fatte al
Ssimo Piano di/,e da ogm stre-
fta della ^larghezza di delta sUada-sia-
"no portico di larghezza di braccia 6 i sul
"le colonne, e sappi che, chi volesse an-
dare per tutta la terra per le 8 strade alte
po ra P a suo acconcio usarle, e chi voles*
\ndare 'per le basse , ancora il simile;
per le strade alte non devono andare
-earn, nc altre simili cose, anzi siano
solamete per li gieteli omini; per le basse
SSTo andare i carri e altre some al uso
e commodita del popolo ; 1' una casa de
volgierele schiene '3all'altra ; , lasciado la
strada bassa in mezzo, ed agh usci- *s
mettano le vettovaglie, come legnie, vino
e simili cose; per le <5 V ie sotterrane si de
votare destri, stalle e simili cose fetide
l6 dall'uno arco all'altro

hollows made on the same level as / s.
And on each side at the extremity of the
width of the said road let there be an arcade,
6 braccia broad, on columns; and understand
that he who would go through the whofc
place by the high level streets can use them
for this purpose, and he who would go by
the low level can do the same. By the high
streets no vehicles and similar objects shoul
circulate, but they are exclusively for the use
of gentlemen. The carts and burdens for the
use and convenience of the inhabitants have
to go by the low ones. One house must
turn its back to the other, leaving the lower
streets between them. Provisions, such as
wood, wine and such things are carried in
by the doors , and privies, stables and other
fetid matter must be emptied, away under-
ground. From one arch to the next

742.

de' essere braccia 300, cioe ciascuna
via che ricieve il lume dalle fessu're delle
strade di sopra, e a ogni arco de essere
una scala a Iuma3ca toda, perche ne catoni
delle quadre si piscia, e larga, c nella 'pnma
uolta sia vn uscio ch'entri i destri e pisci-
atoi comuni, e per s scala si discieda dalla-
strada alta alia bassa, e le strade 6 alte si
comlcino fori delle porte, e givnte a esse
porte abbia?no conposto 1'altezza di brac-
cia 6; Fia fatta detta terra o presso a mare
o altro fiume grosso, acciocche le brutti
della 9 C itta, menate dall'acqua sieno por-
tate via.

must be 300 braccia, each street receiving
its light through the openings of the upper
streets and at each arch must be a winding
stair on a circular plan because the corners
of square ones are always fouled; they
must be wide, and at the first vault there
must be a door entering into public privies
and the said .stairs lead from the upper
to the lower streets and the high level streets
begin outside the city gates and slope up ti
atthese gates they have attained the height
of 6 braccia. Let such a city be built near
the sea or a large river in order that the dir
of the city may be carried off by the water.

B 15*] 743 '

A The construction of the stairs: The stairs

^ rtifii-;:?S3& < '% = >> -* in the same way

Br. M. 270*)

MUTATIONE DI CASE.

744-

2 Le case sieno trasmutate e messe per
ordine, 3 e questo co facilita si fara, 4 per-

ON MOVING HOUSES.

Let the houses be moved and arranged
in order; and this will be done with facility

c ' ocl " :

Imp Eudes

744-]

PLANS FOR TOWNS.

che tali case son prima fatte sdi pezzi so-
pra le piazze, e poi 6 si comettono insieme
colli lor 7legniami nel sito dove si debbono
8 stabilire.

because such houses are at first made in
pieces on the open places, and can then be
fitted together with their timbers in the site
where they are to be permanent.

9 Li omini, del pae I0 se abitino le nuo-
"ve case in parte, I2 quando no v'e la
cor^te.

[9] Let the men of the country [or the
village] partly inhabit the new houses when
the court is absent [12].

744. On the same page we find notes referring
to Romolontino and Villafranca with a sketch-map
of the course of the "Sodro" and the "(Lo)era" (both
are given in the text farther on). There can hardly
be a doubt that the last sentence of the passage

given above, refers to the court of Francis I. King of
France. L.g 13 are written inside the larger sketch,
which, in the original, is on the right hand side of
the page by the side of lines I 8. The three
smaller sketches are below. J. P. R.

//. Plans for canals and streets in a town.

PI LXXIX, .. and 2, (MS. B, 37*, * 745- <** MS. B. 36',

see No. ^6). A Plan for streets and canals inside a town, by k*k the
cellars of the houses are made accessible in boats.

The third text give* under No. 747 refers to works executed by Leo-

nardo in France.

B. 37*1

745-

La faccia a 2 m dark il lume 'alle sta-
4 Ze - 5 a e sark- braccia 6; a b fia braccia-
8-, e fia braccia 30; accioche le stanze
sotto i portici siano 6 luminose -, c- d-f-
fia il loco donde se vadi a scaricare le navi
in nelMe case; Avolere che questa cosa-
abbia effetto bisogna che la inondatione
de' fiumi non madasse 1' acqua alle ca-
nove; e neciessario elegiere sito accomo-
dato, 9 come porsi uicino a vno fiume, il
quale ti dia i canali, che no si possino ne
per 10 inodatione o secchezza delle acque
dare mutatione alle altezze d'esse acque,
e il modo e qui di sotto figurato, e fac-
ciasi eletione di bel fiume che no intorbidi,
ne "per pioggia, come Tesino Adda e

The front a m will give light to the
rooms; a e will be 6 braccia-a * 8 braccia
-J * SO braccia, in order that the rooms
under the porticoes may be lighted; c dj
is the place where the boats come to the
houses to be unloaded. In order to render
this arrangement practicable, and m order
that the inundation of the rivers may not
penetrate into the cellars, it is necessary t
chose an appropriate situation, such as a s]
near a river which can be diverted into
canals in which the level of the water will
not vary either by -inundations or drought.
The construction is shown below; and. make
choice of a fine river, which the rams do
not render muddy, such as the T

modo . . .oto . . effaci . . nSnintorbidine. .2. per piogie chome
. . sare . disfacicsino.

745 L. .-4 are on the left hand side and within On the page #*. W hich comes next in the .original

12 Tesino, Adda e molti altri, i. Drivers coming with p R>

from the mountains and flowing through lakes. ^

PL.LXXIX

|pfpipi '* -*. , J

Heliog-^ D-ujardin.

"..-' f ^

^ ...... ..f: ^x :s^SS

746. 747-1

PLANS FOR CANALS AND STREETS.

stieno I3 a un altezza sara una coca, come to oblige the waters to keep constantly at

qui disotto, la quale fia all' entrare della the same level . wil1 be a sort of dock > as

.. . -IN shown below, situated at the entrance of the

M terra, e megho alquato detro acioche town . or better ^ some way within ^ in

nimici no la disfacciessino. order that the enemy may not destroy it [14].

B. 36 a]

746.

Tanto sia larga la stra 2 da , quanto e la Let the width of the streets be equal to

universale 3 altezza delle case. the average height of the houses.

Br. M. 270-5]

II fiume di mezzo 2 no
ricieva acqua 3 torbida, ma tale
ac 4 qua vada per li fossi 5 di fori
della terra 6 con 4 molina
nelFe^trata e 4 nella u 8 scita,
e questo si fa^ra col ringorgare
1' acqua I0 di sopra a Romo-
lontino;

"Facciasi fonti I2 in cia-
J 3scuna piazza.

747-

The main underground chan-
nel does not receive turbid water,
but that water runs in the ditches
outside the town with four mills
at the entrance and four at the
outlet; and this may be done
by damming the water above
Romorantin.

[ 1 1] There should be foun-'
tains made in each piazza [13].

746. 3. alteza . . chase.

747. i. el . . mezo. 3. mattale. 7. nella vs. 8. ecquesto. 9. ringhorghare. 12. [chome] in cias. 13. piaza.

747. In the original this text comes immediately 10. Romolontino is Romorantin, South of Orleans

after the passage given as No. 744. The remainder in France.

of the writing on the same page refers to the con- Lines I II are written to the right of the plan

struction of canals and is given later, in the "Topo- lines 11 13 underneath it. J. P. R.

graphical Notes".

^sy

///. Cast/es and

A. Castles.

PL LXXX, No. i (P. V.fol. 39*; No. ct'ordre 2282). The fortified
place here represented is said by Vallardi to be the "castello" at Milan, but
without any satisfactory reason. The high tower behind the "rivellino" ra-
velin seems to be intended as a watch-tower.

PI. LXXX, No. 2 (MS. B, 2$ b ). A similarly constructed tower pro-
bably intended for the same use.

PI. LXXX, No. 3 (MS. B). Sketches for corner towers with steps
for a citadel.

PL LXXX, No. 4 (W. XVI). A cupola crowning a corner tower;
an interesting example of decorative fortification. In this reproduction of
the original pen and ink drawing it appears reversed.

B. Projects for Palaces.

PI. LXXXI, No. 2 (MS. C A, 75*; 22 i, see No. 748;. Project for
a royal residence at Amboise in France.

PL LXXXII, No. i (C. A 308*; 939 a / A plan for a somewhat
extensive residence, and various details ; but there' is no text to elucidate it; in
courts are written the three names:

C08i

(Cosmo) (John),

mo nmo

C. Plans for small castles or Villas.

The three following sketches greatly resemble each other.
PL LXXXII, No. 2 (MS. K* 36*; see No. 749;.

.: :_-

c^y

k ^

5?
v 1 ^'

ViO>"

^ r^

f.i*f'?J."- '

'V. :.;*

l : SJs^ "i."" ^ '
'*- * -t^* -. . '.,-..

PI. LXXX:

in n rytev ; ^-x;v%A^

!:U; JJ.JLfc '^W>; l

rf-A-

=**f->

^1^ ** . 1 -'

' / *' ' ''' ' -.,/ :/' v ' /-.' ' ...-. -J? ..>"

i , v <" ,^

l<.'f* A ft I |

vfrt/tW**^ ArfJ [

*^-rflA

;- .;/.."'*';

ris^ "

r^r ^ fh- ftfc^

Imp hudcs

S!*T i-

Til' 4^" <|yi ^-^17- WM^

11 ir

I - 1 i

^fT^ * -

Imp, Eudes.

748.]

CASTLES AND VILLAS.

PL LXXXII, No. 3 (MS. B 60 ; see No. 750^.

PL LXXXIII (W. XVII), The text on this sheet refers to Cyprus
(see Topographical Notes No. 1103,), but seems to have no direct connection
ivith the sketches inserted between.

PL LX XX VIII, Nos. 6 and 7 (MS. B, 12"; .see No. 75 \). A sec-
tion of a circiilar pavilion ivith the plan of a similar building by the side
of it. These huo draivings have a special historical interest because the text
ivritten below mentions the Duke and Duchess of Milan.

The sketch of a villa on a terrace at the end of a garden occiirs in
C. A. 150; and in C.A. 7J b ; 225^ is another sketch of a villa somewhat
resembling the Belvedere of Pope Innocent VIII, at Rome. In C.A. 62^;
193^ there is a Loggia.

PL LXXXII, No. 4 (C.A. 387 a ; 1198*; is a tower -shaped Loggia
above a fountain. The machinery is very ingeniously screened from 'view.

C. A. 75<5; 22ia]

74 8.

[II palazzo del principe de' auere dinati
vna piazza.]

2 Le abitationi doue s'abbia a ballare
o fare diuersi 3 S alti o uari movimeti con
moltitudine di gente sieno terrene, perche
gia n'6 veduto ruinare colla morte di
5 molti; E sopra tutto fa che ogni muro,
per sottile che 6 sia, abbia fondameto in
terra o sopra archi bene 7fondati.

8 Sieno li mezzanelli delli abitacoli $di-
uisi da- muri fatti di stretti mat I0 toni e
sanza legniami per ri^spetto del fuoco.

I2 Tutti li neciessari abbino esalatio I3 ne
per le grossezze de' muri, e in I4 modo che
spirino per li tetti.

*s Li mezzanelli sieno in volta, le quali
I6 sara tanto piu forti quato e' .sara mi-

18 Le catene di quercia sie rinchi'^use
per li muri accio no sie ofifese 20 da foco.

The Palace of the prince must have a
piazza in front of it.

Houses intended for dancing or any kind
of jumping or any other movements with a
multitude of people, must be on the ground-
floor; for I have already witnessed the
destruction of some, causing death to many
persons, and above all let every wall, be it
ever so thin, rest on the ground or on arches
with a good foundation.

Let the mezzanines of the dwellings be
divided by walls made of very thin bricks,
and without wood on account of fire.

Let all the privies have ventilation [by
shafts] in the thickness of the walls, so as to
exhale by the roofs.

The mezzanines should be vaulted, and
the vaults will be stronger in proportion as
they are of small size.

The ties of oak must be enclosed in the
walls in order to be protected from fire.

748. i. palazo. 2. abitationini . . abballare offare. 3. chomoltitudine. 4. rrene . . cholla. 5. Essopra tucto . . persottile.
6. ossopra arachi. 8. mezanelli . . abitacholi. 9. mac. 10. tono essanza . . ris. n. fuocho. 12. Tucti. 13. grosseze.
14. chesspirino . . tecti. 15. mezanelli. 18. chatene diquercie. 20. focho. 21. Lesstaze . . adesstri. 23. il ferore non isspiri.

748. The remarks accompanying the plan repro- moat. In the large court surrounded by a portico

dticed on PI. LXXXI, No. 2 are as follows: Above, "in terre No. Largha l/r.So e lugha br 120." To

to the left : "in a angholo stia la guardia de la sstalla" the right of the castle is a large basin for

(in the angle a may be the keeper of the stable). aquatic sports with the words "Giostre colle nave

Below are the words "strada dabosa" (road to doe li giostra li stieno sopra le na" (Jousting in boats

Amboise), parallel with this "fossa br 40" (the that is the men are to be in boats). J. P. R.
moat 40 braccia) fixing the width of the

VOL. II. "E

ARCHITECTURAL DESIGNS.

[74975I-

"Le staze d'andare a' destri sieno
"molte che entrino Tuna nell' al^tra, ac-
cioche il fiero odore non spiri per 24 le
abitationi, e tutti li loro usci 2 Ssi serrino
colli cotrapesi.

26 La massima diuisione della frote di
que 27 sto palazzo in due parti, cioe che
la Iarghez 28 za della corte sia la meta di
tutta la predetta 2 9fronte; La 2 a ...

The privies must be numerous and going
one into the other in order that the stench
may not penetrate into the dwellings, and
all, their doors must shut off themselves with
counterpoises.

The main division of the facade of this
palace is into two portions; that is to say
the width of the court-yard must be half the
whole facade; the 2 nd ...

K.J

749-

Largo per ogni lato br. 30; 1'entrata da
2 basso e in una sala larga braccia 10 e
^ lunga braccia 30 e a 4 camere co sua cami 4 ni.

30 braccia wide on each side; the lower en-
trance leads into a hall 10 braccia wide and 30
braccia long with 4 recesses each with a chimney.

B. 6oa|

75.

II primo grado sia tutto 2 ripieno.

The firststorey [or terrace] must be entirely
solid.

B. 12 a]

751-

Padiglione del giardino della duchessa
2 di Milano.

Fondameto del padiglione ch'e nel
* mezzo del laberinto del duca di Milano.

The pavilion in the garden of the Du-
chess of Milan.

The plan of the pavilion which is in the
middle of the labyrinth of the Duke of Milan.

24. li . . ettutti . . vssci. 25. cholli chotrappesi. 26. ques. 26. chella larghe.
749. i. Largho . . dab. 2. basso [e ino] e in . . la"r"gha br . 10 el. 3. lungha br 30.
751. i. zardino. 3. del [z]. 4. mezo.

749. On each side of the castle, PI. LXXXII.
No. 2 there are drawings of details, to the left
"Camino" a chimney, to the right the central lantern,
sketched in red "8 latf i. e. an octagon.

751. This passage was first published by AMO-
RETTI in Memorie Storiche Cap. X : Una sua opera da
riportarsi a quesf anno fu il bagno fatto per la duchessa
Beatrice nel parco o giardino del Castello. Leonardo non
sofo ne disegnb il piccolo edifizio a foggia di padiglione,
nel cod. segnato Q. 3, dandone anche separatamente la
pianta; ma sotto vi scrisse: Padiglione del giardino della
duchessa; e sotto la pianta: Fondamento del padiglione
ch'e nel metxo del labirinlo del duca di Milano; nessuna
data e presso il padiglione t disegnato nella pagina 12,
ma poco sopra fra molti circoli intrecciati vedesi = 10 Lu-
glio 1492 = e nella pagina 2 presso ad alctmi disegni
di legumi qualcheduno ha letto Settembre 1482 in vece di
1492, come dovea scrrverevi, e probabilmente scrisse
Leonardo.

The original text however hardly bears the inter-
pretation put i. pun it l>y AMORETTI. He is mis-

taken as to the mark on the MS. as well as in his
statements as to the date, for the MS. in question
has no date ; the date he gives occurs, on the con-
trary, in another note-book. Finally, it appears to
me quite an open question whether Leonardo was
the architect who carried out the construction of
the dome-like Pavilion here shown in section, or
of the ground plan of the Pavilion drawn by the
side of it. Must we, in fact, suppose that "// duca
di Milano" here mentioned was, as has been gene-
rally assumed, Ludovico il Moro? He did not hold
this title from the Emperor before 1494; till that
date he was only called Govematore and Leonardo
in speaking of him, mentions him generally as
"il Moro" even after 1494. On Januaiy 18, 1491,
he married Beatrice d'Este the daughter of Ercole I,
Duke of Ferrara. She died on the 2"d January 1497,
and for the reasons I have given it seems impro-
bable that it should be this princess who is here
spoken of as the "Duchessa di Milano". From the
style of the handwriting it appears to me to be beyond

^7^\

'/>

j /

/.
/

i, <

jl P

? < ^^

PL LXXXlll.

7jr~ ^

fil
. i M

? * 4.

? c ^

752.]

CASTLES AND VILLAS.

B. 19 *J 752.

II terreno che si cava dalle canove 2 si
debe elevare da cato tato in alto che sfac-
cia un orto , che sia alto quato la sala, 4 ma
fa che tra'l terreno dell' orto e'l muro
sdella casa sia uno intervallo, accio che
6 l'umido no guasti i muri maestri.

The earth that is dug out from the cellars
must be raised on one side so high as to
make a terrace garden as high as the level
of the hall; but between the earth of the
terrace and the wall of the house, leave an
interval in order that the damp may not spoil
the principal walls.

753. i. tereno chessi chava delle chanove. 2. ellevare da chato. 3. chessia. 4. chettral tereno. 5. cbasa. 6. maesstri.

all doubt that the MS. B, from which this passage the Duchess would be his wife Isabella of Aragon,

is taken, is older than the dated MSS. of 1492 and to whom he was married on the second February

1493. In that case the Duke of Milan here men- 14.89. J. P. R.

tioned would be Gian Galeazzo (1469 1494) and

Ecclesiastical Architecture.

A. General Observations.

B. 39*]

753-

Senpre vno edifitio vole essere 2 spic-
cato dintorno a volere dimostra^re la sua
vera forma.

A building should always be detached
on all sides so that its form may be seen.

Ash. II. %b\

754-

Qui no si pu6 ne si debe fare 2 capa-
nile, anzi debe 3 stare separate come a il
do 4 mo e Sa Giovanni di Fireze-, 5e cosl il
domo di Pisa che mo 6 stra il capanile per se
dispicca 7 to T circa e cosl il domo, e o 8 gni
vno per se puo mostrare la sua 9 perfet-
tione, e chi lo uolesse pure I0 fare colla
chiesa, faccia la la^terna scusare capanile
12 come e la chiesa di Chiaravalle.

Here there cannot and ought not to be
any campanile; on the contrary it must stand
apart like that of the Cathedral and of San
Giovanni at Florence, and of the Cathedral
at Pisa, where the campanile is quite detached
as well as the dome. Thus each can display
its own perfection. If however you wish to join
it to the church, make the lantern serve for
the campanile as in the church at Chiaravalle.

753. 2. ispichato.

754. I. po nessi. 2. chlpanile. 3. chome. 4. essagiovani. 6. chapanile . . displicha. 7. circho e chosi. 8. po. 9. perfeclione.
10. colla. II. schusare chapanile.

753. The original text is reproduced on PI. XCII,
No. i to the left hand at the bottom.

754. This text is written by the side of the plan
given on PI. XCI. No. 2.

12. The Abbey of Chiaravalle, a few miles from
Milan, has a central tower on the intersection of the

cross in the style of that of the Certosa of Pavia, but
the style is mediaeval (A. D. 1330). Leonardo seems
here to mean, that in a building, in which the cir-
cular form is strongly conspicuous, the campanile
must either be separated, or rise from the centre of
the building and therefore take the form of a lantern.

; >,k' ,

' . ' -.
"%-' -

Iniv Eudes

755-]

ECCLESIASTICAL ARCHITECTURE.

755-

A nessuna chiesa sta 2 bene vedere tetti, It never looks well to see the roofs of

azi 3 S ia rappianato e per canali 1'acqua a chur ch; they should rather be flat and the

water should run off by gutters made in the
discesda ai condotti fatti nel 6 fregio. frieze.

755- 3- rapianato . . cha. 4. la ch . gua dissie. 5. chondotti.

755. This text is to the left of the domed church reproduced on PL LXXXVII, No. 2.

B. The theory of Dome Architecture.

This subject has been more extensively treated by Leonardo in drawings
than in writing. Still we may fairly assume that it was his purpose, ulti-
mately to embody the results of his investigation in a "Trattato delle Cu-
pole." The amount of materials is remarkably extensive. MS. B is parti-
cularly rich in plans and elevations of churches with one or more domes from
the simplest form to the most complicated that can be imagined. Considering
the evident connexion betiveen a great number of these sketches, as well as
the impossibility of seeing in them designs or preparatory sketches for any
building intended to be erected, the conclusion is obvious that they were not
designed for any particular monument, but were theoretical and ideal researches,
made in order to obtain a clear understanding of the laws which must
govern the construction of a great central dome, with smaller ones grouped
round it ; and with or without the addition of spires, so that each of these
parts by itself and in its juxtaposition to the other parts should produce the
grandest possible effect.

In these sketches Leonardo seems to have exhausted every imaginable
combination. ' The results of some of these problems are perhaps not quite
satisfactory ; still they cannot be considered to give evidence of a want of
taste or of any other defect in Leonardos architectural capacity. They
were no doubt intended exclusively for his own instruction, and, before all,
as it seems, to illustrate the features or consequences resulting from a given
principle.

' In MS. B, 32 * (see M. C III, No. 2) we find eight geometrical patterns, eaeh drawn in a square; and
in MS. C.A., fol. 87 to 98 form a whole series of patterns done with the same intention.

( /

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j '
sa^^^a^a:"!';^;^;^

tr: :^fP

Jn.f ft ^

THE THEORY OF DOME ARCHITECTURE. 39

/ have already, in another place, I pointed out the law of construction
for buildings crowned by a large dome: namely, that such a dome, to pro-
duce the greatest effect .possible, should rise cither from the centre of a Greek
cross, or from the centre of a structure of which the plan has some sym-
metrical affinity to a circle, this circle being at the same time the centre of
the whole plan of the building.

Leonardo s sketches show that he was fully aware, as was to be ex-
pected, of this tritth. Few of them exhibit the form of a Latin cross, and
when this is met with, it generally gives evidence of the determination to
assign as prominent a part as possible to the dome ' in the general effect of
the building.

While it is evident, on the one hand, that the greater number of these
domes had no particular purpose, not being, designed for execution, on the
other hand several reasons may be found for Leonardos perseverance in his
studies of the subject.

Besides the theoretical interest of the question for Leonardo and his
Trattato and besides the taste for domes prevailing at that time, it seems
likely that the intended erection of some building of the flrst importance
like the Duomos of Pavia and Como, the church of Sta. Maria delle Grazie
at Milan, and the constriiction of a Dome or central Tower (Tiburio) on
the cathedral of Milan, may have stimulated Leonardo to undertake a
general and thorough investigation of the subject; whilst Leonardo s intercourse
with Bramante for ten years or more, can hardly have remained without in-
fluence in this matter. In fact now that some of this great Architect's
studies for S. Peter s at Rome have at last become known, he must be con-
sidered henceforth as the greatest master of Dome- Architecture that ever
existed. His influence, direct or indirect ez>en on a genius like Leonardo
seems the more likely, since Leonardo s sketches reveal a style most similar
to that of Bramante, whose name indeed, occurs twice in Leonardos manu-
script notes. It must not be forgotten that Leonardo was a Florentine;
the characteristic form of the two principal domes of Florence,
Sta. Maria del Fiore and the Battisterio, constantly appear as leading
features in his sketches.

The church of San Lorenzo at Milan, was at that time still intact.
The dome is to this day one of the most wonderful cupolas ever constructed,
and with its two smaller domes might well attract the attention and study

1 Les Projets Primitifs pour la Basilique de St. Pierre de Rome, par Bramante, Raphael etc.,
Vol. I, p. 2.

4O ARCHITECTURAL DESIGNS.

of a never resting genius such as Leonardo. A whole class of these sketches
betray in fact the direct influence of the church of S. Lorenzo, and this also
seems to have suggested the plan of Bramantes dome of St. Peter s at Rome.
In the folloiving pages the various sketches for the construction of
domes have been classified and discussed from a general point of view. On
tivo sheets: PI. LXXXIV (C. A. 354*; 1 18; and PL LXXXV, Nos. i 1 1
(Ash. //, 6 b ) we see various dissimilar types, grouped together ; thus these
two sheets may be regarded as a sort of nomenclature of the different types,
on which we shall now have to treat.

PL L XXXVI

;

i V

f v <*.-

1. Churches formed on the plan of a Greek cross.

Group L
Domes rising from a circular base.

The simplest type of central building is a circular edifice.

PL LXXXIV, No. 9. Plan of a circular building surrounded by a
colonnade.

PL LXXXIV, No. 8. Elevation of the former, with a conical roof.

PL XC. No. 5. A dodecagon, as most nearly approaching the circle.

PL LXXXVI, No. i, 2, 3. Four round chapels are added at the
extremities of the two principal axes ; compare this plan with fig. i on
p. 44 and fig. 3 on p. 47 ( W. P. $' 6 J where the outer wall is octagonal.

Group II.
Domes rising from a square base.

The plan is a square surrounded by a colonnade, and the dome seems
to be octagonal.

PL LXXXIV. The square plan below the circular building No. 8, and
its elevation to the left, above the plan: here the ground-plan is square, the
upper storey octagonal. A further development of this type is shown in two
sketches C. A. 3 (not reproduced here), and in

PL LXXXVI, No. 5 (which possibly belongs to No. 7 on PL
LXXXIV.

PL LXXXV, No. 4, and p. 45, Fig. 3, a Greek cross, repeated p. 45,
Fig. 3, is another development of the square central plan.

The remainder of these studies show two different systems ; in the first
the dome rises from a square plan, in the second from an octagonal base.

VOL. II.

42 ARCHITECTURAL DESIGNS.

Group III.
Domes rising from a square base and four pillars*

a) First type. A Dome resting on four pillars in the centre of a square
edifice, with an apse in the middle, of each of the four sides. We have cle:en
variations of this type.

aa) PL LXXXVIII, No. 3.

bb) PL LXXX, No. 5.

cc) PL LXXXV, Nos. 2, 3, 5.
dd) PL LXXXIV, No. i and 4 beneath.

ee) PL LXXXV, Nos. i, 7, 10, n.

b) Second type. This consists in adding aisles to the whole plan of the
first type; columns are placed between the apses and the aisles; the plan

thus obtained is very nearly identical with that of S. 'Lorenzo at Milan.

Fig. i on p. 56. (MS. B, 7$ a ) shows the result of this treatment
adapted to a peculiar purpose about which we shall have to say a few
words later on.

PL XCV, No. i, shows the same plan but with the addition of a short
nave. This plan seems to have been suggested by the general arrangement
of S. Sepolcro at Milan.

MS. B. 57 b (see the sketch reproduced on p. $\). By adding towers
in the four outer angles to the last named plan, we obtain a plan which bears
the general features of Bramantes plans for S. Peter s at Rome. 2 (See
p. 51 Fig. i.;

Group IV.

Domes rising from an octagonal base.

This system, developed according to two different schemes, has given
rise to two classes with many varieties.

In a) On each side of the octagon chapels of equal form are added.

In b) The chapels are dissimilar ; those which terminate the principal
axes being different in form from those which are added on the diagonal
sides of the octagon.

a. First Class.

The Chapel "degli Angeli," at Florence, built only to a height of about
20 feet by Brunellesco, may be considered as the prototype of this group;
and, indeed it probably suggested it. The fact that we see" in MS. B. \\ b

i The ancient chapel San Satiro, via dd Falcone, Milan, is a specimen of this type.
* See Les projets primitifs etc., PI. 9 12.

Via.

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ECCLESIASTICAL ARCHITECTURE. 43

(PL XCI V, No. 3) by the side of Brunellescds plan for the Basilica of
Sto. Spirito at Florence, a plan almost identical with that of the Capella
degli Angeli, confirms this supposition. Only two small differences, or we
may say improvements, have been introduced by Leonardo. Firstly the back
of the chapels contains a third niche, and each angle of the Octagon a folded
pilaster like those in Bramantes Sagrestia di S. M. presso San Satiro at
Milan, instead of an interval between the two pilasters as seen in the Bat-
tistero at Florence and in the Sacristy of Sto. Spirito in the same town
and also in the above named chapel by Brunellesco.

The first set of sketches which come under consideration have at first
sight the appearance of mere geometrical studies. They seem to have been
suggested by the plan given on page 44 Fig. 2 (MS. B, 55^ in the centre of
which is written "Santa Maria in perticha da Pavia", at the place marked A
on the reproduction.

a) (MS. B, 34^, page 44 Fig. $). In the middle of each side a, co-
lumn is added, and in the axes of the intercolumnar spaces a second row of
columns forms an aisle round the octagon. These are placed at the inter-
section of a system of semicircles,, of which the sixteen columns on the
sides of the octagon are the centres.

b) The preceding diagram is completed and becomes more monumental
in -style in the sketch next to it (MS. B, 35", see p. 45 Fig. \). An
outer aisle is added by circles, having for radius the distance between the
columns in the middle sides of the octagon.

c) (MS. B, 96 b , see p. 45 Fig. 2). Octagon with an aisle round it;
the angles of botJi are formed by columns. The outer sides are formed by 8 niches

forming chapels. The exterior is likewise octagonal, with the angles corre-
sponding to the centre of each of the interior chapels.

PL XCI I, No. 2 (MS.B. 96 b ). Detail and modification of the preceding
plan half columns against piers an arrangement by which the chapels of
the aisle have the same width of opening as the inner arches between the half
columns. ' Underneath this sketch the following note owirs: questo vole avere
1 2 facce co 1 2 tabernaculi come a b. (This will have twelve sides with
twelve tabernacles as a bj In the remaining sketches of this class the octagon is
not formed by columns at the angles.

The simplest type shows a niche in the middle of each side and is re-
peated on several sheets, viz: MS. B 3; MS. C.A. 354^ (see PI. LXXXIV,
No. \\), and MS. Ash II 6^; (see PL LXXXV, No. 9 and the elevations
No. 8; PL XCI I, No. 3/ MS. B. 4* [not reproduced here] and PL LXXXIV,
No. 2).

ARCHITECTURAL DESIGNS.

Fig. i.

Fig. 2.

Fig- 3-

V >|

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ECCLESIASTICAL ARCHITECTURE.

Fig. i.

Fig. 3-

Fig. 2.

ARCHITECTURAL DESIGNS.

PL XCII, 3 (MS. B, 56 b ) corresponds to a plan like the one in MS.
B 35 fl *n which the niches would be visible outside or, as in the follow-
ing sketch, with the addition of a niche in the middle of each chapel.

PI. XC, No. 6. The niches themselves are surrounded by smaller niches
(see also No. I on the same plate).

Octagon expanded on each side.

A. by a square chapel:

MS. B. 34* (not reproduced here).

B. by a square with 3 niches:

MS. B.\\ b (see PI. XCIV, No. 3 /

C. by octagonal chapels :

a) MS. B,2\; PI. LXXXVIII, No. 14.

b) No. 2 on the same plate. Underneath there is the remark: "quest'e
come le 8 cappele ano a essere facte" (this is how the eight chapels
are to be executed).

c) PI. LXXXVIII, No. 5. Elevation to the plans on the same sheet,
it is accompanied by the note: "ciasscuno de' 9 tiburi no'uole passare
1'alteza di 2 quadri" (neither of the 9 domes must exceed tJte
height of two squares).

d) PI. LXXXVIII, No, i, Inside of the same octagon.

MS. B, 30, and 34^; these are three repetitions of parts of the
same plan with very slight variations.

D. by a circular chapel:

MS. B, i8 a (see Fig. I on page tf) gives the plan of this arrangement in

which the exterior is square on the ground floor ivith only four of the

chapels projecting, as is explained in the next sketch.
PI. LXXXIX, MS. B, \j b . Elevation to the preceding plan sketched on

the opposite side of the sheet, and also marked A. It is accompanied by
' the following remark, indicating the theoretical character of these studies :

questo edifitio anchora starebbe bene affarlo dalla linja a b c d

insu. (" This edifice would also produce a good effect if only the part above

the lines a b, c d, were executed").
PL LXXXIV, No. ii. The exterior has the form of an octagon, but tlic

chapels project partly beyond it. On the left side of the sketch tht\

appear larger than on the right side.

PI. XC, No. i, (MS. B, 25*); Repetition of PI. LXXXIV, No. u.
PI. XC, No. 2. Elevation to the plan No. \, and also to No. 6 of the

same sheet.

>s*>"^i" r.'-v.
\'&*+ > :V- f ^ !

*>"% . -^ layr;

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op IXijardin.

Kudcs.

ECCLESIASTICAL ARCHITECTURE.

Fig. 3-

48 ARCHITECTURAL DESIGNS.

E. By chapels formed by four niches:

PL LXXXfV, No. 7 (the circular plan on the left below) shows this
arrangement in which the central dome has become circular inside and
might therefore be classed after this group. 1

The sketch on the right hand side gives most likely the elevation for
the last named plan.

F. By chapels of still richer combinations, which necessitate an octagon of

larger dimensions:

PI. XCI, No. 2 (MS. Ash. II. 8*} 2 ; on this plan the chapels themselves
appear to be central buildings formed like the first type of the third
group. PI. LXXXVII I, No. 3.

PL XCf, No. 2 above; the exterior of the preceding figure, particu-
larly interesting on account of the alternation of apses and niches , the
latter cantaining statues of a gigantic size, in proportion to the dimen-
sion of the niches.

b. Second Class.

Composite plans of this class are generally obtained by combining two
types of the first class the one worked out on the principal axes, the other
on the diagonal ones.

MS. B. 22 shows an elementary combination, without any additions on
the diagonal axes, but with the dimensions of the squares on the two
principal axes exceeding those of the sides of the octagon.

In the drawing W. P. 5 b (see page 44 Fig. ij the exterior only of
the edifice is octagonal, the interior being formed by a circular colonnade;
round chapels are placed against the four sides of the principal axes.

The elevation, drawn on ' the same sheet (see page 47 Fig. 3}, shows the
whole arrangement which is closely related with the one on PL LXXXVI
No. i, 2.

MS. B. 2\ a shows:

a) four sides with rectangular chapels crowned by pediments

PL LXXXVII No. 3 (plan and elevation) ;

b) four sides with square chapels crowned by octagonal domes.

PL LXXXVII No. 4; the plan underneath.

MS. B. i8 a shows a variation obtained by replacing the round chapels
in the principal axes of the sketch MS. B. 1 8 a by square ones, with an

This plan and some others of this class remind us of the plan of the Mausoleum of Augustus as it is
represented for instance by Durand. See Cab. des Estampes, Bibliotheque Nationale, Paris, Topographic de
Rome, V, 6, 82.

a The note accampanying this plan is given under No. 754.

PL .XC

Imp. Euder

PL.XC I

Imp, Elides.

I r

Helio\>- Dxijardin

Imp Eu.de s

ECCLESIASTICAL ARCHITECTURE. 49

apse. Leonardo repeated both ideas for better comparison side by side, see
page 47. Fig. 2.

PI. LXXXIX (MS. B. \*j b ). Elevation for the preceding figure. The
comparison of the drawing marked M with the plan on page 47 Fig. 2,
bearing the same mark, and of. the elevation on PI. LXXXIX below
(marked A) with the corresponding plan on page 47 is highly instructive,
as illustrating the spirit in which Leonardo pursued these studies.

PI. LXXXIV No. 12 shows the design PI. LXXXVII No. 3 com-
bined with apses, with the addition of round chapels on the diagonal sides.

PL LXXXIV No. 13 is a variation of the preceding sketch.

PI. XC No. 3. MS. B. 25*. The round chapels of the preceding
sketch are replaced by octagonal chapels, above which rise campaniles.

PI. XC No. 4 is the elevation for the preceding plan.

PL XCII No. i. (MS. B. 39^; the plan below. On the principal as
well as on the diagonal axes are diagonal chapels, but the latter are sepa-
rated from the dome by semicircular recesses. The communication between
these eight chapels forms a square aisle round the central dome.

Above this figure is the elevation, showing four campaniles on the angles. 1

PI. CXXXIV No. 3. On the principal axes are square chapels ivith
three niches ; on the diagonals octagonal chapels with niches. Cod. Atl. 340^
gives a somewhat similar arrangement.

MS. B. 30. The principal development is thrown on the diagonal axes
by square chapels with three niches ; on the principal axes are inner recesses
communicating with outer ones.

The plan PL XCII I No. 2 (MS. B. 22) differs from this only in so far
as the outer semicircles have become circular chapels, projecting from the external
square as apses ; one of them serves as the entrance by a semicircular portico.

The elevation is drawn on the left side of the plan.

MS. B. 19. A further development of MS. B. 1 8, by employing for
the four principal chapels the type PL LXXXVIII No. 3, as we have al-
ready seen in PL XCI No. 2 ; the exterior presents two varieties.

a) The outer contour follows the inner. 2

b) It is semicircular.

PL LXXXVII No. 2 (MS. B. \% b ) Elevation to the first variation
MS. B. 1 9. If we were not certain that this sketch was by Leonardo, we
might feel tempted to take it as a study by Bramante for St. Peters at Rome3

1 The note accompanying this drawing is reproduced under No. 753.

2 These chapels are here sketched in two different sizes; it is the smaller type which is thus formed.

3 See Les projets primitifs PI. 43.

VOL. 11. G

50 ARCHITECTURAL DESIGNS. [756.

MS. P. V. 39*. In the principal axes the chapels of MS. B. 19,
and semicircular niches on the diagonals. The exterior, oj the whole edi-
fice is also an octagon, concealing the form of the interior chapels, but with
its angles on their axes.

Group V.
Suggested by San Lorenzo at Milan.

In MS. C. A. 266 IP, 812* there is a plan almost identical with that
of San Lorenzo. The diagonal sides of the irregular octagon are not indi-
cated. If it could be proved that the arches which, in the actual church,
exist on these sides in the first story, were added in 1574 by Martimo Bassi,
then this plan and the following section would be still nearer the original
state of San Lorenzo than at present. A reproduction of this slightly sketched
plan has not been possible. It may however be under stood from PI. LXXXVIII
No. 3, by suppressing the four pillars corresponding to the apses.

PL LXXXVII No. i shows the section in elevation corresponding with
the above-named plan. The recessed chapels are decorated with large shells in the
halfdomes like the arrangement in an Lorenzo, but with proportions
like those of Bramantes Sacristy of Santa Maria presso S. Satiro.

MS. C. A. 266; a sheet containing three views of exteriors of Domes.
On the same sheet there is a plan similar to the one above-named but with
uninterrupted aisles and with the addition of round chapels in the axes
(compare PL XCVII No. 3 and .page 44 Fig. \), perhaps a reminiscence of
the two chapels annexed to San Lorenzo. Leonardo has here sketched the way
of transforming this plan into a Latin cross by means of a nave with
side aisles.

PL XCI No. i . Plan showing a type deprived of aisles and comprised
in a square building which is surrounded by a portico. It is accompanied
by the following text:

Ash. n. 7 a] 756.

Questo edifitio e abitato di sotto e di This edifice is inhabited [accessible] below

sopra come e san Sepulcro, 2 ed e sopra and above, like San Sepolcro, and it is

come sotto, saluo che '1 di sopra al tiburio the same above as below, except that the

c d e' 1 di sotto 3 a l tiburio a b e quado upper story has the dome c d; and the

756. i. tocto . . chome . . sansepulchro. a. chome. 3. a . b . e ecquado. 4. nela . . socto. 4. chali 10 schalini. 5. schalini . .

756. The church of San Sepolcro at Milan, foun- of the XVI ih century, still stands over the crypt of
ded in 1030 and repeatedly rebuilt after the middle the original structure.

756.]

ECCLESIASTICAL ARCHITECTURE.

entri nella chiesa di sotto, 4 tu cali 10 sea- lower has the dome a b, and when you

lini, e quado mod in quello di sopra tu sali enter into the cr 7P^ y u descend 10 steps,

..... ... ._ . and when you mount into the upper you

205scalim, che a '/ 3 luno fano 10 braccia, *

e questo e lo spatio ch'e 6 infra i piani e ach, make 10 braccia, and this is the. height

delPuna e 1'altra chiesa.

10. br . e. n. ellaltra.

between one floor of the church and the other.

Above the plan on the same sheet is a view of the exterior. By the aid
of these two figures and the description, sections of the edifice may easily
be reconstructed. But the section drawn on the left side of the building
seems not to be in keeping with the same plan, notwithstanding the expla-
natory note written underneath it: "dentro il difitio di sopra" (interior of
the edifice above) 1 .

Before leaving this group , it is ^vell to remark that the germ of it
seems already indicated by the diagonal lines in the plans PL LXXXV
No. ii and No. 7. We shall fend another application of the same type to
the Latin cross in PL XCVII No. 3.

1 The small inner dome corresponds to a b on the plan it rises from the lower church into the upper ?
above, and larger, rises the dome c d. The aisles above and below thus correspond (e di sopra come di sotto,
salvoche etc.). The only difference is, that in the section Leonardo has not taken the trouble to make the form
octagonal, but has merely sketched circular lines in perspective. J. P. R.

2. Churches formed on the plan of a Latin cross.

We find among Leonardos studies several sketches for churches on the
plan of the Latin cross ; we shall begin by describing them, and shall add
a few observations.

A. Studies after existing Monuments.

PI. XCIV No. 2. (MS. B. \\ b .) Plan of Santo Spirito at Florence,
a basilica built after the designs of Brunellesco. Leonardo has added the
indication of a portico in front, either his own invention or the reproduction
of a now lost design.

PL XCV No. 2. Plan accompanied by the words: "A e santo sepolcro
di milano di sopra" ^A is the upper church of S. Sepolcro at Milan) ; although
since Leonardos time considerably spoilt, it is still the same in plan.

The second plan with its note: "B e la sua parte socto tera" (B zs its sub-
terranean part [the crypt]") still corresponds with the present state of this
part of the church as I have ascertained by visiting the crypt with this plan.
Excepting the addition of a few insignificant walls, the state of this in-
teresting part of the church still conforms to Leonardos sketch ; but in the
Vestibolo the two columns near the entrance of the winding stairs are absent.

B. Designs or Studies.

PL XCV No. i. Plan of a church evidently suggested by that of
San Sepolcro at Milan. The central part has been added to on the principle
of the second type of Group III. Leonardo has placed the "coro" (choir) in
the centre.

PL.XCIV

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Im . Elides.

757-] ECCLESIASTICAL ARCHITECTURE. 53

PL XCVI No. 2. In the plan the dome, as regards its interior, belongs
to the First Class of Group ""IV, and may be grouped with the one in
MS. B. 35 a . The nave seems to be a development of the type represented
in PL XCV No. 2, B. by adding towers and two lateral porticos' 1 .

On the left is a view of the exterior of the preceding plan. It is accom-
panied by the following note:

B. 24 ] 757-

Questo edifitio e abitato di sopra e di This building is inhabited below and

sotto; 2 di sopra -si va per li campanili e above; the way up is by the campaniles,

uassi su per lo piano 3dove sono fondati f d ^ going up one has to use the plat-

... , . x form, where the drums of the four domes

i 4 tibun, e detto piano 4 a uno parapetto ^ and thig platform has a parapet in frontj

dmazi, e di detti tibun nessuno s n e riesce an d none of these domes communicate with
in chiesa, anzi sono separati I tutto. the church, but they are quite separate.

757. 4. a i parapecto. 5. neriessie . . tucto.

PL XCVI No. i (MS. C. A. i6 b ; 6$ a ). Perspective view of a church
seen from behind; this recalls the Duomo at Florence, but with two campaniles 2 .

PL XCVI I No. 3 (MS. B. 52). The central part is a development of
S. Lorenzo at Milan, such as was executed at the Duomo of Pavia. There
is sufficient analogy between the building actually executed and this sketch
to suggest a direct connection between them. Leonardo accompanied Fran-
cesco di Giorgio^ when the latter was consulted on June 2\ st , 1490 as to this
church; the fact that the only word accompanying the plan is: "sagrestia",
seems to confirm our supposition, for the sacristies were added only in 1492,
i. e. four years after the beginning of the Cathedral, which at that time
was most likely still sufficiently unfinished to be capable of receiving the
form of the present sketch.

PL XCV I I No. 2 shows the exterior of this design. Below is the note:
edifitio al proposito del fodameto figurato di socto (edifice proper for the
ground plan figured below).

Here we may also mention the plan of a Latin cross drawn in MS.
C. A. fol. 266 (see p. 50,).

PL XCIV No. i (MS. L. 15^. External side view of Brunellescds
Florentine basilica San Lorenzo, seen from the North.

PL XCIV No. 4 (V. A. V, \). Principal front of a nave, most
likely of a church on the plan of a Latin cross. We notice here not only the

1 Already published in Les projets primitifs PI. IX.

2 Already published in the Saggio PI. IX.

3 See MALASPINA, il Duomo di Pavia. Documents.

ARCHITECTURAL DESIGNS.

principal features which were employed afterwards in Albcrti's front of
S. Maria Novella, but even details of a more advanced style, such as
we are accustomed to meet with only after the year 1520.

In the background of Leonardos unfinished picture of St. Jerome
(Vatican Gallery) a somewhat similar church front is indicated (see the
accompanying sketch).

The view of the front of a temple, apparently a dome in the centre of
four corinthian porticos bearing pediments (published by Amoretti Tav. II. B
as being by Leonardo), is taken from a drawing, now at the Ambrosian
Gallery. We cannot consider this to be by the hand of the master.

'/-

. .-

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Imp Eude s

C. Studies for a form of a Church most proper for preaching.

The problem as to what form of church might answer the require-
ments of acoustics seems to have engaged Leonardo s very particular attention.
The designation of "teatro" given to some of these sketches, clearly shows
which plan seemed to him most favourable for hearing the preacher s voice.
PI. XCVII, No. i (MS. B, 52). Rectangular edifice divided into three
naves with an apse on either side, terminated by a semicircular theatre with
rising seats, as in antique buildings. The pulpit is in the centre. Leonardo
has written on the left side of the sketch: "teatro da predicare" (Theatre
for preaching).

MS. B, 55* (see page 56, Fig. ij. A domed church after the type of
PL XCV, No. i, shows four theatres occupying the apses and facing the
square "coro" (choir), which is in the centre between the four pillars of the
dome. 1 The rising arrangement of the seats is shown in the sketch above.
At the place marked B Leonardo wrote teatri per uldire messa (rows of
seats to hear mass), at T teatri, and at C coro (choir).

In MS. C.A. 260, are slight sketches of two plans for rectangular
choirs and two elevations of the altar and. pulpit which seem to be in con-
nection with these plans.

In MS. Ash II, 8 a (see p. 56 and 57. Fig. 2 and $). "Locho dove si pre-
dica" (Place for preaching). A most singular plan for a. building. The
interior is a portion of a sphere, the centre of which is the summit of
a column destined to serve as the preacher s pulpit. The inside is somewhat

' The note teatro de predicar, on the right side is, I believe, in lJu' handwriting of Pontpeo Leoni. J. P. R.

ARCHITECTURAL DESIGNS.

Fig. 2.

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ECCLESIASTICAL ARCHITECTURE.

like a modern theatre, whilst the exterior and the galleries and stairs recall
the ancient amphitheatres.

Page 57, Fig. 4. A plan accompanying the two preceding drawings.
If this gives the complete form Leonardo intended for the edifice, it would

Fig. 3-

Fig. 4.

have comprised only about .two thirds of the circle. Leonardo wrote in the
centre "fondamento", a word he often employed for plans, and on the left
side of the view of the exterior: locho dove si predicha (a place for
preaching in).

VOL. II.

D. Design for a Mausoleum.

PI. XCVIII (P. V., 182. No. d'ordre 2386;. In the midst of a hilly
landscape rises an artificial mountain in the form of a gigantic cone, crow-
ned by an imposing temple. At two thirds of the height a terrace is cut
out with six doorways forming entrances to galleries, each leading to three
sepulchral halls, so constructed as to contain about Jive hundred funeral
urns, disposed in the customary antique style. From two opposite sides
steps ascend to the terrace in a single flight and beyond it to the tetnple
above. A large circular opening, like that in the Pantheon, is in the dome
above what may be the altar, or perhaps the central monument on the level
of the terrace below.

The section of a gallery given in the sketch to the right below shows
the roof to be constructed on the principle of superimposed horizontal layers,
projecting one beyond the other, and each furnished ivith a sort of heel, which
appears to be undercut, so as to give the appearance of a beam from within.
Granite alone would be adequate to the dimensions here given to the key
stone, as the thickness of the layers can hardly be considered to be less than
a foot. In taking this as the basis of our calculation for the dimensions of
the whole construction, the width of the chamber would be about 2 5 feet but,
judging from the number of urns it contains and there is no reason to
suppose that these urns were larger than usual it would seem to be no
more than about 8 or \ o feet.

The construction of the vaults resembles those in the galleries of some
etruscan tumuli, for instance the Regulini Galeassi tomb at Cervetri (late-
ly discovered) and also that of the chamber and passages of the pyramid of
Cheops and of the treasury of Atreus at Mycenae.

The upper cone displays not only analogies with the monuments men-
tioned in the note, but also with Etruscan tumuli, such as the Cocumella

. - :

Imp. Elide

ECCLESIASTICAL ARCHITECTURE. 59

tomb at Vulci, and the Regulini Galeassi tomb' 1 . The whole scheme is one
of the most magnificent in the history of Architecture.

It would be difficult to decide as to whether any monument he had seen
suggested this idea to Leonardo, but it is worth while to enquire, if any
monument, or group of monuments of an earlier date may be supposed to
have done so. 2

1 See FERSGUSON, Handbook of Architecture, I, 291.

2 There are, in Algiers, two Monuments, commonly called "Le Madracen" and "Le tombeau de la
Chretienne," which somewhat resemble Leonardo's design. They are known to have served as the Mausolea of the Kings
of Mauritania. Pomponius Mela, the geographer of the time of the Emperor Claudius, describes them as having
been "Monumentum commune regiae gentis." See Le Madracen, Rapport fait par M. le Grand Rabbin AB.
CAHEN, Constantine 1873 Memoire sur les fouilles executees au Madras'en . . par le Colonel BRUNON,
Constantine 1873. Deux Mausolees Africains, le Madracen et le tombeau de la Chretienne par M. J. DE
LAURIERE, Tours 1874. Le tombeau de la Chretienne, Mausolee des rois Mauritaniens par M. BERBRUGGER,
Alger 1867. / am indebted to M. LE BLANC, of the Institut, and M. LUD. LALANNE, Bibliothecaire of the
Instilut for having first pointed out to me the resemblance between these monuments; while M. ANT. HERON
DE VlLLEFOSSE of the Louvre was kind enough to place the abovementioned rare works at my disposal. Leonardo's
observations on the coast of Africa are given later in this work. The Herodium near Bethlehem in Palestine (Jebel
el Fureidis, the Frank Mountain) was, according to the latest researches, constructed on a very similar plan. See
Der Frankenberg, von Baurath C. SCHICK in Jerusalem, Zeitschrift des Deutschen Palastina-Vereins,
Leipzig 1880, Vol. Ill, pages 8899 and Plates IV and V. J. P. R.

E. Studies for the Central Tower, or Tiburio of Milan Cathedral.

Towards the end of the fifteenth century the Fabbricceria del Duomo
had to settle on the choice of a model for the crowning and central part of
this vast building. We learn from a notice published by G. L. Calvi ' that
among the artists who presented models in the year 1488 were: Bramante,
Pietro da Gorgonzola, Luca Paperio (Fancelli), and Leonardo da Vinci.

Several sketches by Leonardo refer to this important project:

PL CXIX, No. 2 (MS. S. K. Ill, No. 36*; a small plan of the
whole edifice. The projecting chapels in the middle of the transept are
wanting here. The nave appears to be shortened and seems to be approached
by an inner "vestibolo".

PL C, No. 2 (Tr. 21). Plan of the octagon tower, giving the disposition
of the buttresses ; starling from the eight pillars adjoining the four principal
piers and intended to support the eight angles of the Tiburio. These but-
tresses correspond exactly with those described by Bramante as existing in
the model presented by Omodeo. 2

PI. C, 3 (MS. Tr. 1 6). Two plans showing different arrangements
of the buttresses, which seem to be formed partly by the intersection of a
system of pointed arches such as that seen in

PL C, No. 5 (MS. B, 2? a ) destined to give a broader base to the
drum. The text underneath is given under No. 788.

MS. B, 3 three slight sketches of plans in connexion with the pre-
ceding ones.

G. L. CALVI, Notizie sulla vita e sulle opere dei principali architetti scultori e pittori che fiori-
rono in Milano, Part 111, 20. See also: H. DE GEYMULLER, Les projets primitifs etc. /, 37 and 116 119.
The Fabbricceria of the Duomo has lately begun the publication of the archives, which may possibly tell us more
about the part taken by Leonardo, than has hitherto been known.

* Bramante's opinion was first published by G. MONGERI, Arch. stor. Lomb. V, fasc. 3 and afterwards by
me in the publication mentioned in the preceding note.

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ECCLESIASTICAL ARCHITECTURE.

PL XCIX, No. i (MS. Tr. 15) contains several small sketches of
sections and exterior views of the Dome; some of them show buttress-walls
shaped as inverted arches. Respecting these Leonardo notes:

Tr. 15)

758.

L'arco rivescio e migliore per fare The inverted arch is better for giving a

2 spalla che 1'ordinario, perche il rovescio shoulder than the ordinary one, because the
3 trova sotto se muro resistete alia sua former finds below it a wall resisting its

weakness, whilst the latter finds in its weak

part nothing but air.

4debolezza, e 1'ordinario no trova nel suo
sdebole se non aria.

758. i. larcho. 2. isspalla . . riverscio. 4. deboleza ellordinario.

Three slight sketches of sections on the same leaf- above those repro-
duced here are more closely connected with the large drawing in the centre of

PL C, No. 4 (MS, Tr. 4 1) which shows a section of a very elevated
dome, with double vaults, connected by ribs and buttresses ingeniously dis-
posed, so as to bring the weight of the lantern to bear on the base of
the dome.

A sketch underneath it shows a round pillar on which is indicated

which part of its summit is to bear the weight: "il pilastro sara charicho

in a - 6." (The column will bear the weight at a b.^ Another note is

above on the right side: Larcho regiera tanto sotto asse chome di sopra

s e (The arch supports as much below it [i. e. a hanging weight] as above it).

PL C, No. i (C.A. 303^. Larger sketch of half section of the Dome,
with a very complicated system of arches, and a double vault. Each stone
is shaped so as to be knit or dovetailed to its neighbours. Thus the inside
of the Dome cannot be seen from below.

MS. C.A. 303^. A repetition of the preceding sketch with very slight
modi/lea tions.

Fig. 2.

MS. Tr. 9 (see Fig. i and 2). Section of the Dome with reverted
buttresses between the windows, above which iron anchors or chains seem
to be intended. Below is the sketch of the outside.

Fig. i.

Tr. 9 (see Fig.

ARCHITECTURAL DESIGNS.

PI. XCIX, No. 3 (C.A., 262) four sketches of the exterior of the
Dome.

C. A. 1 2. Section, showing the points of rupture of a gothic vault, in
evident connection with the sketches described above.

It deserves to be noticed how easily and apparently without effort,
Leonardo manages to combine gothic details and structure with the more
modern shape of the Dome.

The following notes are on the same leaf, oni cosa poderosa, and oni
cosa poderosa desidera de(scendere); farther below, several multiplications
most likely intended to calculate the weight of some parts of
the Dome, thus 16 x 47 = 720; 720 x Soo = 176000, next to
which is written: peso del pilastro di 9 teste (weight of the
pillar 9 diameters high).

Below: 176000 x 8 = 1408000; and below:

Semjlio e se ce 80 (?) il peso del tiburio
(six millions six hundred (?) 80 the weight of the Dome),

Bossi hazarded the theory that Leonardo might have been
the architect who built the church of Sta. Maria delle Grazie,
but there is no evidence to support this, either in documents
or in the materials supplied by Leonardos manuscripts
and drawings. The sketch given at the side shows the
arrangement of the second and third socle on the apses
of the choir of that church ; and it is remarkable that
j those sketches, in MS. S. K. M. II 2 , 2 a and i 6 , occur
-\ with the passage given in Volume I as No. 665 and
*J 666 referring to the composition of the Last Supper in
the Refectory of that church.

F. The Project for lifting up the Battistero of Florence and setting it on

a basement.

Among the very few details Vasari gives as to the architectural studies
of Leonardo, we read: "And among these models and designs there was one
by way of which he showed several times to many ingenious citizens who
then governed Florence, his readiness to lift up without ruining it, the church
of San Giovanni in Florence (the Battistero, opposite the Duomo) in order to
place under it the missing basement with steps; he supported his assertions
with reasons so persuasive, that while he spoke the undertaking seemed feas-
able, although every one of his hearers, when he had departed, could see by
himself the impossibility of so vast an undertaking" ^

In the MS. C. A. fol. 293, there are two sketches which possibly might
have a bearing on this bold enterprise. We find there a plan of a cir-
cular or polygonal edifice surrounded by semicircular arches in an oblique
position. These may be taken for the foundation of the steps and of the new
platform. In the perspective elevation the same edifice, forming a polygon, is
shown as lifted up and resting on a circle of inverted arches which rest
on an other circle of arches in the ordinary position, but so placed that the
inverted arches above rest on the spandrels of the lower range.

What seems to confirm the supposition that the lifting up of a building is
here in question, is the indication of engines for winding up, such as jacks,
and a rack and wheel. As the lifting apparatus represented on this sheet
does not seem particularly applicable to an undertaking of such magnitude,
we may consider it to be a first sketch or scheme for the engines to be used.

i This latter statement of Vasarfs must be considered to be exaggerated. I may refer here to some data given
by LlBRl, Histoire des sciences mathematiques en Italic (II, 216, 217): "On a cru dans ces derniers temps
faire un miracle en mecanique en effectuant ce transport, et cependant des 1'annee 1455, Gaspard Nadi et
Aristote de Fioravantio avaient transporte, a une distance considerable, la tour de la Magione de Bologne,
avec ses fondements, qui avait presque quatre-vingts pieds de haut. Le continuateur de la chronique de
Pugliola dit que le trajet fut de 35 pieds et que durant le transport auquel le chroniqueur affirme avoir
assist^, il arriva un accident grave qui fit pencher de trois pieds la tour pendant qu'elle tait suspendue,
mais que cet accident fut promptement repare (Muratori, Scriptores rer. ital. Tom. XVIII, col. 717, 718).
Alidosi a rapporte une note ou Nadi rend compte de ce transport avec une rare simplicite. D'apres cette
note, on voit que les operations de ce genre n'etaient pas nouvelles. Celle-ci ne couta que 150 livres
(monnaie d'alors) y compris le cadeau que le L6gat fit aux deux mecaniciens. Dans la meme annee,
Aristote redressa le clocher de Cento, qui penchait de plus de cinq pieds (Alidosi, instruttione p. 188
Muratori, Scriptores rer. ital., torn. XXIII, col. 888. Bossii, chronica Mediol., 1492, in-fol. ad ann. 1455)-
On ne conc,oit pas comment les historiens des beaux-arts ont pu negliger de tels hommes." J. P. R.

G. Description of an unknown Temple.

C. A. 2800; 8520]

759-

Per dodici gradi di scale al magno tem-
pio si saliva, il quale otto cento braccia
circundaua, e con ottagulare 2 figura era
fabricate, e sopra li otto anguli otto gran
base si posauano a un braccio e mezzo, e
grosse 3, 3 e lunghe 6 nel suo sodo, col-
Pangolo in mezzo, sopra delle quali si fon-
dauano 8 gra pilastri: sopra del sodo della
basa si Ie 4 vava per ispatio di 24 braccia,
e nel suo termine erano stabiliti 8 capitelli
di 3 braccia 1'uno, e largo 6, sopra di
questi se 5 guiva architraue fregio e cornice
con altezza di 4 braccia e 1 / 2 , il quale per
retta linia 6 dall' un pilastro all' altro s' asten-
dea, e cosl con circuito d'otto cento brac-
cia il tempio circundava infra 1* u 7 pilastro
e P altro; per sostentacolo di tal mebro
erano stabiliti dieci gran colohe dell' altez-
za de' pilastri e co 8 grossezza di 3 braccia
sopra le base, le quali era alte vn braccio e l / 2 .

^Salivasi a questo tenpio per 12 gradi di
scale, il quale tempio era sopra il dodecimo
grado fondato in figura ottan'gulare, e sopra
ciascuno angulo nasceva vn gran pilastro;
e infra li pilastri erano inframessi "dieci

Twelve flights of steps led up to the
great temple, which was eight hundred braccia
in circumference and built on an octagonal
plan. At the eight corners were eight large
plinths, one braccia and a half high, and three
wide, and six long at the bottom, with
an angle in the middle; on these were eight
great pillars, standing on the plinths as a
foundation, and twenty four braccia high.
And on the top of these were eight capitals
three braccia long and six wide, above which
were the architrave frieze and cornice, four
braccia and a half high, and this was carried
on in a straight line from one pillar to the next
and so, continuing for eight hundred braccia,
surrounded the whole temple, from pillar to
pillar. To support this entablature there were
ten large columns of the same height as the
pillars, three braccia thick above their bases
which were one braccia and a half high.

The ascent to this temple was by
twelve flights of steps, and the temple was
on the twelfth, of an octagonal form, and at
each angle rose a large pillar; and between
the pillars were placed ten columns of the

759. Either this description is incomplete, or, as
seems to me highly probable, it refers to some ruin.
The enormous dimensions forbid our supposing this
to be any temple in Italy or Greece. Syria was the

native land of colossal octagonal buildings, in the
early centuries A. D. The Temple of Baalbek,
and others are even larger than that here described.

J. P. R.

759-]

DESCRIPTION OF AN UNKNOWN TEMPLE.

colonne colla medesima altezza de' pilastri,
i quali si levaua sopra del pauimeto 28
braccia e */ 2 ; sopra I2 di questa medesima
altezza si posaua architraue fregio e cornice
con lunghezza d'otto ceto braccia, e cignea
X 3il tenpio a vna medesima altezza circuiua
dentro a tal circuito sopra il medesimo pi-
ano; in giro in centre del tempio per spatio
di 24 braccia nascono ^le conrispondentie
delli 8 pilastri delli angoli, e delle colonne
poste a esse prime faccie, e si "Sleuauano
alia medesima altezza sopra detta, e sopra
tal pilastri li architraui perpetui l6 ritor-
navano sopra li primi detti pilastri e
colonne.

same height as the pillars, rising at once
from the pavement to a height of twenty eight
braccia and a half; and at this height the archi-
trave, frieze and cornice were placed which
surrounded the temple having a length of
eight hundred braccia. At the same height,
and within the temple at the same level, and
all round the centre of the temple at a distance
of 24 braccia farther in, are pillars correspon-
ding to the eight pillars in the angles, and
columns corresponding to those placed in
the outer spaces. These rise to the same
height as the former ones, and over these the
continuous architrave returns towards the
outer row of pillars and columns.

br e ^z. 12. di queste sta . . alteza . . frego e corice cho collungeza dotto ceto br cigea. 13. alteza . . attal . . piano |
"iciero il centre del tenpio per ispatio di 24 br . nasscie. 14. e delle [ottamta] colone . . facce essi. 15. alteza sopra
[di que] detta.

L i?i "tff

V. Palace architecture.

But a small number of Leonardo s drawings refer to the architecture
of palaces, and our knowledge is small as to what style Leonardo might
have adopted for such buildings.

PL CII No. i (W. XVIII). A small portion of a faqade of a palace
in two stories ; somewhat resembling Alberti's Palazzo Rucellai. Compare
with this Bramante s painted front of the Casa Silvestri, and a painting by
Montorfano in San Pietro in Gessate at Milan, third chapel on the left
hand side and also with Bramantes palaces at Rome. The pilasters with ara-
besques, the rustica between them, and the figures over the window may be
painted or in sgraffito. The original is drawn in red chalk.

PI. LXXXI No. i (MS. Tr. 42). Sketch of a palace with battle-
ments and decorations, most likely graffiti; the details remind us of those in
the Castello at Vigevano.*

MS. Mz. o", contains a design for a palace or house with a loggia in the
middle of the first story, over which rises an attic with a Pediment repro-
duced on page 67. The details drawn close by on the left seem to indicate
an arrangement of coupled columns against the wall of a first story.

PL LXXXV No. 14 (MS. S. K. M. Ill 79) contains a very slight

i Count GlULIO PORKO, in his valuable contribution to the Archivio Storico Lombardo, Anno VIII,
Fasc. IV (31 Dec. 1881): Leonardo da Vinci, Libro di Annotazioni e Memorie, refers to this in the following
note: "Alia pag. 41 vi e uno schizzo di volta ed accanto scrisse: 'il pilastro- sara charicho in su 6' e potrebbe
darsi che si riferisse alia cupola della chiesa delle Grazie tanto pii che a pag. 42 vi e un disegno che
rassomiglia assai al basamento che oggi si vede nella parte esterna del coro.di quella chiesa." This may
however be doubted. The drawing, here referred to, on page 41 of the same manuscript, is reproduced on PI. C No. 4
and described on page 6 1 as being a study for the cupola of the Duomo of Afilan. J. P. R.

PALACE ARCHITECTURE.

6 7

sketch in red chalk, which most probably is intended to represent the faqade
of a palace. Inside is the short note 7 he 7 (j and 7).

//////////// / f M 1 1 m\ \\\\\\\\\\\\\\

. 7 2 8 a ^r^ pages 68 /^. i tfTZdf 2^) contains a view of an unknown
palace. Its plan is indicated at the side.

In MS. Br. M. 126* (see Fig. 3 on page 68) there is a sketch of a house,
on which Leonardo notes: casa con tre 'terrazi (house with three terraces).

ARCHITECTURAL DESIGNS.

[760.

PL CX, No. 4 (MS. L. 36*) represents the front of a fortified building
drawn at Cesena in 1502 (see No. 1040).

Fig. 2

Fig. ..

Here we may also mention the singular building in the allegorical
composition represented on PL L VIII in Vol. I. In front of it appears
the head of a sphinx or of a dragon which seems to be carrying the palace
away. . .

The following texts refer to the construction of palaces and other buil-
dings destined for private use:

W. XIX]

760.

La corte de' auere le parieti 2 per 1'al-
On the pro- tezza la meta della sua ^larghezza, cioe
corte *sara braccia 40, la casa deve
essere Salta 20 nelle parieti di tal 6 corte,
e tal corte vol essere ?larga per la meta
di tutta la 8 facciata.

portions of o~
a court yard.

In the courtyard the walls must be half
the height of its width, that is if the court
be 40 braccia, the house must be 20 high
as regards the walls of the said courtyard;
and this courtyard must be half as wide as
the whole front.

760. i. pariete. 2. lalteza. 3. largezza coe sella. 4. br 40 . la casa e essere. 5. alte . . pariete. 6. volerssere. 7. faccata.

760. See PL CI, no. i, and compare the dimensions here given, with No. 748 lines 26 29; and the
drawing belonging to it PI. LXXXI, no. 2.

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PALACE ARCHITECTURE.

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B. 39*]

76l.

PER FARE VNA POLITA STALLA.

2 Modo come si de' componere vna
stalla: Dividerai in prima la sua lar^ghez-
za in parti -3-6 la sua lunghezza e libera -,
e le 3 dette divisioni * sieno equali e di
larghezza di braccia 6 per ciascuna, e alte
10, e la parte di mezzo 5 sia in uso de'
maestri di stalla , le 2 da cato per i ca-
vagli, de' quali ciascuno ne de' 6 pigliare
per larghezza braccia 6 , lughezza braccia 6,
e alte piv dinanti che dirieto l / 2 braccio;
7 la mangiatoia sia alta da terra braccia 2,
il principio della rastrelliera 8 braccia -3-6
1' ultimo braccia 4 ; Ora a volere atenere
quello ch'io prometto, cioe di 9 fare detto
sito cotro allo universale vso pulito e netto

inquato al di sopra I0 della stalla , cioe
dove sta il fieno , debe detto loco avere
nella sua testa di fori vna "finestra alta 6

e larga 6, donde con vn facil modo si
coduca il fieno su detto I2 solaro, come
appare nello strumeto E , e sia collocata 1
un sito di larghez^za di braccia 6, e lungo
quato la stalla, come appare in k -p e 1' altre
2 parti J 4che mettano in mezzo questa, cias-
cuna sia diuisa in 2 parti, le dua diverso
il fieno sia I5 no braccia 4 , p s , solo allo
ofitio e andamento de' ministri d'essa stalla,
1' altre l6 2 che confinano colle parieti mu-
rali sieno di braccia 2, come appare in s
/-, I7 e queste sieno allo ofitio di dare-il
feno alle magiatoie per condotti stretti nel
18 principio e larghi sulle magiatoie, accio
che'l feno no si fermi infra via, sieno ^bene
Itonicati e politi, figurati dov' e segnato .
f-s-, in quanto al dare 20 bere siano le ma-
giatoie di pietra, sopra le quali sia 1' acqua, si
che si possino 2I scoprire le magiatoie come
si scoprono le casse, alzado i coperchi loro.

FOR MAKING A CLEAN STABLE.

The manner in which one must arrange ,. On .^ e

,..,. . , . dispositions

a stable. You must first divide its width m of a stable.

3 parts, its depth matters not; and let these

3 divisions be equal and 6 braccia broad

for each part and 10 high, and the middle

part shall be for the use of the stablemasters ;

the 2 side ones for the horses, each of which

must be 6 braccia in width and 6 in length,

and be half a braccio higher at the head

than behind. Let the manger be at 2 braccia

from the ground, to the bottom of the rack,

3 braccia, and the top of it 4 braccia. Now,

in order to attain to what I promise, that is to

make this place, contrary to the general

custom, clean and neat: as to the upper

part of the stable, i. e. where the hay is,

that part must have at its outer end a

window 6 braccia high and 6 broad, through

which by simple means the hay is brought

up to the loft, as is shown by the machine

E; and let this be erected in a place 6 braccia

wide, and as long as the stable, as seen at

k p. The other two parts, which are on

either side of this, are again divided; those

nearest to the hay-loft are 4 braccia, / s,

and only for the use and circulation of the

servants belonging to the stable; the other two

which reach to the outer walls are 2 braccia,

as seen at s k, and these are made for the

purpose of giving hay to the mangers, by means

of funnels, narrow at the top and wide over

the manger, in order that the hay should not

choke them. They must be well plastered and

clean and are represented at 4 fs. As to

the giving the horses water, the troughs must

be of stone and above them [cisterns of]

water. The mangers may be opened as

boxes are uncovered by raising the lids.

761. 2. chome . . chomponere . . isstalla. 3. geza in parte. 3. ella . . lungeza . . decte. 4. largeza di br 6 . . mezo. 6. lar-
geza br . 3 ellugeza br 6 . . 1/2 br. 7. la mangiatoria sialta dacterra br . 2 . [larastella era] il . . dela rastelliera. 8. br . 3
, ellultimo br 4 . . attenere . . promecto. 9. decto . . necto. 10. feno . . decto . . nela. n. feno. 12. apare . . essia
colocata . . large. 13. br 6 . . apare in K. p. laltre e laltre. 14. metano imezo . . si diuisa . . feno. 15. no br 4
"p . s" . . ofitio [de mini si.ribe] e andamento. 16. 2 che che chonfinano chole pariete . . br 2 . . apare. 17. ecqueste . .
magiatore . per condocti strecti. 18. sule magiatore acio. 20. le magiatore . . sia la sichessi. 21. magiatore chome si scho-
prano.

761. See PL LXXVIII, No. i.

ARCHITECTURAL DESIGNS.

[762. 763.

762.

MODO COME SI FANNO 2 L* ARMATURE PER FARE

JORNAMETO 4 Di KDIFITI.

s Modo come si debbono 6 mettere le per-
tiche 7 per legare i mazzuoli 8 de' ginepri
sopra esse 9 pertiche, le quali sono I0 confitte
sopra rar jl matura della vol I2 ta e lega essi
ma'3zzuoli con salci e 14 su per fare cimerosa
scolle forbici e Ia l6 vora le co salci;

J 7Sia da Pu l8 no all' altro ''cerchiouno
20 l / 2 braccio e '1 gi 2I nepro si de' 22 regiere
collie cime in giv 2 *c6mlciado 2 $di sotto;

26 A questa colonna si lega 2 7d'intorno
4 pertiche, dintor 2 *no alle quali s'inchioda
2 9vinchi grossi uno dito e poi 3 si fa da
pie e vassi in alto lega^do mazzuoli di
cime di ^ 2 ginepro colle cime J ba^sso doe
sotto sopra.

THE WAY TO CONSTRUCT A FRAME-WORK FOR
DECORATING BUILDINGS.

The way in which the poles ought to be
placed for tying bunches of juniper on to
them. These poles must lie close to the frame-
work of the vaulting and tie the bunches on
with osier withes, so as to clip them even
afterwards with shears.

Let the distance from one circle to another
be half a braccia; and the juniper [sprigs]
must lie top downwards, beginning from below.

Round this column tie four poles to
which willows about as thick as a finger must
be nailed and then begin from the bottom
and work upwards with bunches of juniper
sprigs, the tops downwards, that is upside
down.

Br. M. 19211]

Sia lasciata cadere 1'acqua 2 in
tutto il cerchio di a b.

763-
C

The water should be allowed to
fall from the whole circle a b.

762. i. fa. 2. larmadure. 5. debe. 7. mazoli. 10. chofittc. n. madura. 13. coli chon salcie[l]e. 16. cosalci. 19. cierchio i.
20. */2 br. 22. cho. 26. acquesta. 28. ale. 29. i dito. 31. mazoli di [gin] cime. 32. cholle.

763. i. lacq"a". 2. lotto il cierchio.

762. See PI. CII, No. 3. The words here given
as the title line, lines I 4, are the last in the ori-
ginal MS. Lines 5 16 are written under fig. 4.

763. Other drawings of fountains are given on
PL CI (W. XX) ; the original is a pen and ink drawing
on blue paper; on PL CIII (MS. B.) and PL LXXXII.

**>*

- ' .>*

v^
, .-. r-' ' ' ::'^

PI,.

. . 3 T r ".' \ V

jlfcS^V 1> I

p4**r^SSiS .^^

TTcliop^. Dxijardin

Imp. Elides.

VI. Studies of architectural details.

Several of Leonardos drawings of architectural details prove that, like
other great masters of that period, he had devoted his attention to the study
of the proportion of such details. As- every organic being in nature has its
law of construction and growth, these masters endeavoured, each in his way,
to discover and prove a law of proportion in architecture. The following
notes in Leonardos manuscripts refer to this subject.

Fig. 2.

Fig. I.

MS. S. K. M. Ill, 47 b (see Fig. i). A diagram, indicating the rules
as given by Vitruvius and by Leon Battista Alberti for the proportions of
the Attic base of a column.

MS. S. K. M. Ill 55 (see Fig. 2). Diagram showing the. same rules.

ARCHITECTURAL DESIGNS.

[764766.

S. K. M. III. |8/>]

764.

L. 19 ;

B toro superiore
2 B nestroli ..
3 B orbiculo

4 B nestroli

5 B toro Tferiore

6 B latastro

SCALE D' URBINO.

765-

3 II latastro deve ^essere largo quaHo
la grossezza di qua 6 luque muro dove 7 tale
latastro s'ap 8 poggia.

toro superiore

astragali quadre

. . troclea

astragali quadre
toro Iferiore

plintho <^

STEPS OF URBINO.

The plinth must be as broad as the
thickness of the wall against which the plinth
is built.

C. A. 318*; 9610]

766.

I nostri antichi architettori co-

miciando in prima dagli Egitti, i quali se-
codo che descrive Diodoro Sicolo 2 furo
i primi edificatori e componitori di citta gran-
dissime. e di castelli ed edifizi publici e
privati di forma, grandezza 3 e qualita per
le quali i loro antecedeti riguardevoli con
stupefazione e maraviglia * le eleuate e gran-
dissime macchine paredo loro ....

s La colonna ch' a la sua grossezza nel ter-
zo . . . . 6 quella che fusse sottile nel
mezzo ronperassi nelle . . ; 7 quella
ch'e di pari grossezza e di pari
fortezza e migliore per 1'edi-
fizio, 8 seconda di bonta sara
quella ch'a la maggior gros-
sezza dov' ella si cogivgnie colla
9basa.

\ s

\ *>

5 i

s <

^
^

.
s

^ ^

i ^

s
s
s

The ancient architects beginning

with the Egyptians (?) who, as Diodorus
Siculus writes, were the first to build and
construct large cities and castles, public and
private buildings of fine form, large and well

proportioned

The column, which has its thickness at
the third part .... The one which
would be thinnest in the middle,
would break . . . ; the one which is of
equal thickness and of equal strength,
is better for the edifice. The se-
cond best as to usefulness will be
the one whose greatest thickness
is where it joins with the base.

764. i. toro superio . . super. 2. nexstroli. 3. torclea. 5. inferior . . Iferi. 6. | pinto] plinto.

765. 2. (il muro]. 3, illatasstro debbe. 4. fg] largo. 5. grosseza di qu"a". 7. latastro. 8. pogga.

766. i . . written Jrom left to right, i. nosstri . . otalecine chomlciando . . daglitii . . sechodo . . desscriue . . sicholo. 2. edi*

tichatori e chomponitori di cita . . chasstella. 4. grandeza . . anticiedeti [gestupessani che] righuardevoli chonnistupefazione
. . loro; here the text breaks off. 5. cholonna-. . groseza terzo qui . ve ana aroper se (?) 6. . . mezo . . nelle 2 ispasia.

764. No explanation can be offered of the mean-
ing of the letter B, which precedes each name.
It may be meant for basa (base). Perhaps it refers
to some author on architecture or an architect (Bra-
mante ?) who employed the designations, thus marked
for the mouldings.

3. troclea. Philander: Trochlea sive trochalia aut
rechanum.

6. Latercului or latastrum is the Latin name for
Plinthus (TtMvdo;), but Vitruvius adopted this Greek
name and "lataMro" seems to have been little

in use. It is to be found besides the text given
above, as far as I am aware, only on two drawings
of the Uffizi Collection, where, in one instance, it
indicates the abacus of a Doric capital.

765. See PI. CX No. 3. The hasty sketch on the
right hand side illustrates the unsatisfactory' effect
produced when the plinth is narrower than the wall.

766. See PI. CIII, No. 3, where the sketches
belonging to lines 10 16 are reproduced, but rever-
sed. The sketch of columns, here reproduced by a
wood cut, stands in the original close to lines 5 8.

7 6 7 . 768.]

ARCHITECTURAL DESIGNS.

10 II capitello a a essere J questo formato,
dividi la sua grossezza da capo j 8

d' u pie, "e fa che sia alto 5 / 7 e ver ~

ra a essere quadro, dipoi dividi 1'altezza J
8, come facesti la colonna, di poi poni
*/8 1'uovolo I2 e un altro ottavo la grossezza
della tavola che sta di sopra al capitello;
'3i corni della tavola del capitello ano a
sportare fuori dalla maggior larghezza della
capana 2 / 7 I4 cioe settimi del di sopra della
capana che tocca a ciascu corno di sporto
Y 7 I5 e la mozzatura de' corni vuole essere
largha quat' e alta, cioe l /& ; jl resto degli or-
nameti lascio l6 jn liberta degli scultori;
T 7ma per tornare alle colonne, e provare
la ragione secondo la forma di lor fortezza
18 o debolezza, dico cosl, che quado le linie
si partiranno dalla sommita della I9 colonna
e termineranno nel suo nascimeto e la lor
uia e lughezza sia di pari 20 distanzia o
latitudine, dico che questa colonna ....

The capital must be formed in this
way. Divide its thickness at the top into
8; at the foot make it s/7 } and let it be 5/7
high and you will have a square ; afterwards
divide the height into 8 parts as you did for
the column, and then take J /s f r the echinus
and another eighth for the thickness of the aba-
cus on the top of the capital. The horns of
the abacus of the capitalhaveto project beyond
the greatest width of the bell 2 / 7 , i.e. sevenths
of the top of the bell; so l / 7 falls to the
projection of each horn. The truncated part
of the horns must be as broad as it is high.
I leave the rest, that is the ornaments, to
the taste of the sculptors. But to return to
the columns and in order to prove the
reason of their strength or weakness according
to their shape, I say that when the lines starting
from the summit of the column and ending at its
base and their direction and length . . ., their
distance apart or width may be equal; I say
that this column . .

Ash. III.

767.

Ilcilindro d'vn corpo di figura colo 2 nale,
e le sua opposite fronti so due cierchi
J d' interpositione paralella *e infra li lor
cietri s'estede una linia 5 retta, che passa
per il mezzo della grossezza 6 del cilindro
e termina nelli cietri ?d'essi cierchi, la
quale linia dalli antichi e detta axis.

The cylinder of a body columnar in
shape and its two opposite ends are two
circles enclosed between parallel lines, and
through the centre of the cylinder is a
straight line, ending at the centre of
these circles, and called by the ancients
the axis.

H.3 73^1

a d */3 di n m ", 2 m l /t
3 1' ovo sporta '/6 di . r o ; * s 7 */,
s# b si diuida in 9 e

768.

r o;

s r-o

.
6 1 abaco e 5/9J

7ovo 4/ 9 ; 8 fusaiolo e listello 2 / 9 e

a b is J /3 of n m; mo is */6 of ^ o.
The ovolo projects J /6 of r o; s j^/ s of r 0,
a b is divided into Q 1 ^; the abacus is 3 / 9 the
ovolo 4 / 9 , the bead-moulding and the fillet
2 / 9 and T L,

7. grosseza . . forteza. 8. sechonda . . magior grosseza dovela . . chogivgnie cholla. 10. chapitello . . grosseza da chapo
J | 7 | Sdupie ne me 5/7. n. evera . . lalteza . . chome . . cholona . . poni 1/8 luovolo. 12. grosseza dalla . . chessta . .
chapitello. 13. i chorni . . chapitello . . assorportera . . della magior largheza . . chapana. 14. cio settimi . . chapana
che tocha aciasschu chorno dissporto 1/7. 15. mozatura de de chorni . . essre largha . . "j resto. 16. ischultori . . 17. cho-
lonne . . sechondo . . forteza. 18. deboleza dicho chosi che quado [che qua] le. 19. cholonna ettermineranno . . nassci-
meto ella . . ellugheza. 20. 1 disstanzia . . dicho . . cholonna. Here the text breaks off.

767. i. El chilindro . . chorpo . . cholo. 2. elle . . fronte. 3. dinterpositio paralella . e infra li lor cietri. 4. sastede . . linia
pa. 5. mezo . . grossetta. 6. chilindro ottermina. 7. linia e di detta. 8. lima cietrale e dalli . . assis.

768. i8 R. 6. labaco he. 7. hovo. 8. fesaiolo.

767. Leonardo wrote these lines on the margin of a page of the Trattato di Francesco 'Mi Giorgio,
where there are several drawings of columns, as well as a head drawn in profile inside an outline
sketch of a capital.

768. See PL LXXXV, No. 16. In the original the drawing and writing are both in red chalk.
VOL. u. K

74 ARCHITECTURAL DESIGNS. [769.

PL LXXXV No. 6 (MS. Ash. II 6 b ) contains a small sketch of a
capital with the following note, written in three lines: I chorni del capitelo.
deono essere la quarta parte d'uno quadro (The horns of a capital must
measure the fourth part of a square).

MS. S. K. M. ///72* contains two sketches of ornamentations of windows.

In MS. C. A. 308"; 938* (see PI. LXXXII No. \) there are several
sketches of columns. One of the two columns on the right is similar to those
employed by Bramante at the Canonica di S. Ambrogio. The same columns
appear in the sketch underneath the plan of a castle. There they appear
coupled, and in two stories one above the other. The archivolls which seem
to spring out of the cohtmns, are shaped like twisted cords, meant per-
haps to be twisted branches. The walls between the columns seem to be formed
out of blocks of wood, the pedestals are ornamented with a reticulated pattern.
From all this we may suppose that Leonardo here had in mind either some
festive decoration, or perhaps a pavilion for some hunting place or park.
The sketch of columns marked "35" gives an example of columns shaped
like candelabra, a form often employed at that time, particularly in Milan,
and the surrounding districts for instance in the Cortile di Casa Castiglione
now Silvestre, in the cathedral of Como, at Porta della Rana &c.

G. 52a ] 7 6 9-

DELLI ARCHITRAVI DI UNO 2 E DI PIU CONCERNING ARCHITRAVES OF ONE OR SEVERAL
PEZZI. PIECES.

-J L' architrave di piu pezzi piu potete An architrave of several pieces is stronger

che quel d'u 4 sol pezzo, essendo essi pezzi than that of one single piece, if those

colle lor lunghezze situati Sper inverso il pieces are placed with their length in the

cetro del modo; pruovasi perche 6 le pietre direction of the centre of the world. This

anno il neruo overo tiglio gienerato per il is proved because stones have their grain

tra 7 verso, cioe per il uerso delli orizzonti or fibre generated in the contrary direction

opposti d'un mede 8 simo emisperio, e questo /'. e. in the direction of the opposite horizons

e contrario al tiglio delle 9piate 1 quali of the hemisphere , and this is contrary to

anno . . . fibres of the plants which have . . .

769. i. di i. 2. eddi 4. j. eppiu . . che cquel. 4. pezo . . cholle . . lungheza. 7. orizonti opopositi. 8. ecquesto e chontrario.
769. The text is incomplete in the original.

The Proportions of the stories of a building are indicated by a sketch
in MS. S. K. M. 77 2 1 1* (see PL LXXXV No. 15;. The measures are
written on the left side, as follows: br i 1 2 6 3 4 br ' 2 br 9 e ' a i ' ,
br 5 6 9 6 3 [br -= braccia; o onciej.

PL LXXXV No. 13 (MS. B. 62*) and PL XCIII No. i. (MS. B. 15")
give a few examples of arches supported on piers.

";
'

-"^v

Pv^

"v+pg

280S1'

I^-J^

Heliog-. Dujaxdin.

->~*~jij

Imp.Kudes .

XIII.

Theoretical writings on Architecture.

Leonardo's original writings on the theory of Architecture have come down to us
only in a fragmentary state; still, there seems to be no doubt that he 'himself did not
complete them. It would seem that Leonardo entertained the idea of writing a large
and connected book on Architecture; arid it is quite evident that the materials we
possess , which can be proved to have been written at different periods, were noted
doivn with a more or less definite aim and purpose. They might all be collected
under the one title: "Studies on the Strength of Materials". Among them the investi-
gations on the subject of fissures in walls are particularly thorough, and very fully
reported; these f passages are also especially interesting, because Leonardo was certainly
the first writer on architecture who ever treated the subject at all. Here, as in all other
cases Leonardo carefully avoids all abstract argument. His data are not derived from
the principles of algebra, but from the laws of mechanics, and his method throughout is
strictly experimental.

Though the conclusions drawn from his investigations may not have that
precision which we are accustomed to find in Leonardo's scientific labours, their interest
is not lessened. They prove at any rate his deep sagacity and wonderfully clear mind.
No one perhaps, who has studied these questions since Leonardo, has combined with a
scientific mind anything like the artistic delicacy of perception which gives interest and
lucidity to his observations.

I do not assert that the arrangement here adopted for the passages in question is
that originally intended by Leonardo; but their distribution into five groups was suggested
by the titles, or headings, which Leonardo himself prefixed to most of these notes.
Some of the longer sections perliaps sJiould not, to be in strict agreement with this divi-

WRITINGS ON ARCHITECTURE.

sion, have been reproduced in their entirety in the place where they occur. But the
comparatively small amount of the materials we possess will render them, even so, suffi-
ciently intelligible to the reader; it did not therefore seem necessary or desirable to sub-
divide the passages merely for the sake of strict classification.

The small number of chapters given under the fifth class, treating on the centre of
gravity in roof -beams, bears no proportion to the number of drawings and studies which
refer to the same subject. Only a small selection of these are reproduced in this work
since the majority have no explanatory text.

PL CIV

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Imp Eudes
I

ON FISSURES IN WALLS.

Br. M. 157 ]

770.

Fa prima il trattato delle cause giene-
ratrici de! 2 le rotture de' muri, e poi il
trattato de'rimedi separate.

3 Li fessi paralelli sono vniversalmete
gienerati 4 in quelli edifiti che si edificano
in lochi montuosi, li Squali sien coposti di
pietre faldate con obbliquo 6 faldameto, e
perche in tale obbliquita spesso penetra
7 acqua e altra vmidita portatricie di cierta
terra 8 vntuosa e sdrucciolante , e perche
tali falde no sono 9 continuate insino al fon-
do delle valli, I0 tali pietre si muovono per
la loro obli"quita e mai terminao il moto
insin I2 che discendono al fondo della valle,
J 3portando con seco a vso di barca ^quella
parte dello edifitio che per lo'Sro si separa
dal suddetto rimanete;

16 II rimedio. di questo e il fondare spes-

17 si pilastri sotto il muro che si move,

18 e con archi dall'uno alPaltro e be^ne ab-
barbicati, e questi tali 20 pilastri sieno fun-
da 2I ti e fermi 22 nelle falde le quali non
sieno rotte;

2 3Per trovare la parte stabile delle sopra
dette falde e neciessario fare vn 2< * pozzo
sotto il pie del muro co gra profondita in-
fra esse falde 25 e di tal pozzo pulirne co
piana superfitie la larghezza d'un palmo

First write the treatise on the causes of
the giving way of walls and then, separately,
treat of the remedies.

Parallel fissures constantly occur in
buildings which are erected on a hill
side, when the hill is composed of stratified
rocks with an oblique stratification, because
water and other moisture often penetrates
these oblique seams carrying in greasy and
slippery soil; and as the strata are not con-
tinuous down to the bottom of the valley,
the rocks slide in the direction of the slope,
and the motion does not cease till they have
reached the bottom of the valley, carrying with
them, as though in a boat, that portion of
the building which is separated by them from
the rest. The remedy for this is always to
build thick piers under the wall which
is slipping, with arches from one to
another, and with a good scarp and let
the piers have a firm foundation in the
strata so that they may not break away
from them.

In order to find the solid part of these
strata, it is necessary to make a shaft at the
foot of the wall of great depth through the
strata; and in this shaft, on the side from
which the hill slopes, smooth and flatten a

770. i. chause. 3. [di] sono. 4. chessi edifichano illochi. 5. choposti . . chon obbriquo. 8. essdrucciolente. 9. chontinovate.
10. tale . . simovan. 12. cheddisciendano. 13. chonsecho . . barcha. 16. Irimedio . . spe. 17. pilasstri . . chessi. 18. chon.
19. abarbatiati esti. 20. pilasstri. 21. effermi. 22. rutte. 23. per [del]. 24. pozzo [no] sotto . . cho. 25. pozo . . cho . .

770. See PL CIV.

UklTINGS ON ARCHITECTURE.

[771-

26 dalla somita insino al fondo da quel lato,
donde il mote discede, 27 e in capo d'al-
quato tempo questa parte pulita, che si fecie
nella pa 28 riete del pozzo, mostrera manifesto
segnio qual parte del mote si move.

space one palm wide from the top to the
bottom; and after some time this smooth
portion made on the side of the shaft, will
show plainly which part of the hill is
moving.

Br. M. 157*] 77 1 -

Mai le fessure de' muri 2 sara paralelle,
fuor che se la 3 parte del muro, la qual * si
separa dal suo rimanete, 5 non disceda.

QUALE REGOLA E QUELLA CHE FA ?LI EDIFITI
PERMANETI.

8 La permanetia delli edifiti e la regola
contra9ria alle 2 anteciedeti, cioe che le mu-
raglie 10 sieno eleuate in alto tutte equal-
mete con e quali "gradi, che abbraccino
1'intera circuitione dello I2 edifitio colle intere
grossezze di qualunque sorte di '^muri,
e ancora che il muro sottile secchi piu pre-
sto che il grosso, e' no si avra a ropere
per il peso che lui 'Spossa acquistare dal-
1' una all' altra giornata, perche, l6 se il suo
duplo seccassi in una giornata il dop I7 pio
secchera in due o circa, si uerra ragguagli-
ado l8 co piccola differetia di peso in piccola

differetia di tepo.

J 9Dicie 1'aversario 20 che a becca 2I tello
disciede.

22 E qui dicie 1'auersario 2 3che r disciede
e non e.

PRONOSTICI DELLE CAVSE 2 5 DELLE FESSURE DI
QUALUCHE 26 MURO.

2 7Quella parte del muro che no disciede
riserua 28 in se 1'obbiquita del beccatello,
copritore dell' o 2 9bliquita del muro da lui
discesa.

DE'SITI DE'FONDAMETI E IN QUAL ^'LOCO so

CAVSA DELLE RUINE.

3 2 Quando la fessura del muro e piu
larga di sopra c he di sotto elli e manifesto
segnio che la mu^raglia a la causa della
ruina remota dal perpe^diculare d'essa fessura.

The cracks in walls will never be parallel
unless the part of the wall that separates from
the remainder does not slip down.

WHAT is THE LAW BY WHICH BUILDINGS HAVE

STABILITY.

The stability of buildings is the result
of the contrary law to the two former
cases. That is to say that the walls must
be all built up equally, and by degrees, to
equal heights all round the building, and the
whole thickness at once, whatever kind of
walls they may be. And although a thin wall
dries more quickly than a thick one it will
not necessarily give way under the added
weight day by day and thus, [i6J although
a thin wall dries more quickly than a thick
one, it will not give way under the weight
which the latter may acquire from day to
day. Because if double the amount of it
dries in one day, one of double the thick-
ness will dry in two days or thereabouts;
thus the small addition of weight will be
balanced by the smaller difference of time [18].

The adversary says that a which projects,
slips down.

And here the adversary says that r slips
and not c.

HOW TO PROGNOSTICATE THE CAUSES OF
CRACKS IN ANY SORT OF WALL.

The part of the wall which does not
slip is that in which the obliquity projects
and overhangs the portion which has parted
from it and slipped down.

ON THE SITUATION OF FOUNDATIONS AND IN
WHAT PLACES THEY ARE A CAUSE OF RUIN.

When the crevice in the wall is wider at the
top' than at the bottom, it is a manifest sign, that
the cause of the fissure in the wall is remote
from the perpendicular line through the crevice.

larcheza. 26. dacquel . . dissciede. 27. chapo dalquato lento questa . . chessi. 28. mossterra . . mote si m\\\\\.
771. 2. paralelle. . chella. 3. par del. s.disscieda. 6. reghola ecquella cheffa. 8. edifiti(e) . . ella reghola. 9. chelle. 10. che
qual . . cho quali. n. abraccino . . circhuitione. 12. cholle . . q aluche sorte. 13. anchora . . sechi. 14. ara . . chellui.
15. acquisstare. 16. il sudduplo sechassi innuna. 17. sechera . . circha . . ragualgliado. 18. cho pichola diferetia . . pichola
diferetia. 20. becha. 22. ecqui. 24. chause. 25. delle (mu). 27. [I| Quella . . no [si move] "disciede". 28. bechatello
copritricio dello. 29. delei disciesa. 31. locho so chavsa. 32. largha. 33. chella. 34. alia chausa. 35. dichulare.

771. Lines 15 refer to PI. CV, No. 2.
Line 9 alle due anteciedete, see on the same page.
Lines 1618. The translation of this is doubt-

ful, and the meaning in any case very obscure.
Lines 19 23 are on the right hand margin close
to the two sketches on PI. CII, No. 3.

7/2.]

ON FISSURES IN WALLS.

Br. M. i 3 8rt] 772.

DELLE FESSURE DE'MURI, LE QUALI

SO 2 LARGHE DA PIE E STRETTE DA CA^PO E

LOR CAUSA.

4 Quel muro senpre si fende che s non si
secca vniformemete 6 con equal tepo;

7 E quel muro d' uniforme gros 8 sezza no si
secca con equal 9 tepo, il quale non e in co-
tat I0 to d' equal mezzo; come se "vna parte
d'un muro fusse edi I2 ficata in cotatto d'u
monte ^vmido e '1 rimanente restasse J 4in
contatto dell' aria, che allo I5 ra il rimanete
si ristrigne per l6 ciascun verso e 1'umido si
man^tiene nella sua prima gradezza, l8 e
allora-quel che s'asciuga ^nell'aria, restri-
gnie e diminui 20 scesi, e quel che e inu-
midito no 2I si asciuga e volentieri si r6 22 pe
al secco daH'umido perche es 23 so vmido
non a tenacita da 2 4seguitare il moto di
quel che al continue si secca.

DELLI FESSI ARCATI LARGHI DI SOPRA
2 ?E STRETTI DI SOTTO.

28 Quelli fessi arcati larghi di sopra
2 9e stretti di sotto nascono nelle 3porte
rimurate che cala piu ne3 I l'altezza che nella
larghezza loro 32 per tanto quato 1'altezza
e maggiore 33 che nella larghezza e per
quato le com34messure della calcina son
piv numerosi 35 in nell'altezza che nella
larghezza.

3 6 I1 fesso diminuisce 37 tanto meno in
r o 3 8 che in m n, quato 39 infra roe. me
ma4teria che in n m.

4 r Ogni fessura fatta 421 loco cocavo
e larga 43 di sotto, e stretta di sopra, 44 e
questo nascie, come 4S mostra b c d da lato
figu 46 rato.

4 ? p a TICio che si inumidi4 8 sce cresce per
tato 49 quato e 1'umido ac s quistato.H

51 2 a HE ogni cosa umi S2 da si restrignie
nel53lo asciugare per ta.54to quanto e 1' umido
ss che da lei si diuide. If

OF CRACKS IN WALLS, WHICH ARE WIDE AT

THE BOTTOM AND NARROW AT THE TOP AND

OF THEIR CAUSES.

That wall which does not dry uniformly
in an equal time, always cracks.

A wall though of equal thickness will
not dry with equal quickness if it is not
everywhere in contact with the same
medium. Thus, if one side of a wall were
in contact with a damp slope and the other
were in contact with the air, then this latter
side would remain of the same size as before;
that side which dries in the air will shrink
or diminish and the side which is kept damp
will not dry. And the dry portion will break
away readily from the damp portion because
the damp part not shrinking in the same pro-
portion does not cohere and follow the move-
ment of the part which dries continuously.

OF ARCHED CRACKS, WIDE AT THE TOP, AND
NARROW BELOW.

Arched cracks, wide at the top and
narrow below are found in walled-up
doors, which shrink more in their height
than in their breadth, and in proportion as
their height is greater than their width,
and as the joints of the mortar are
more numerous in the height than in the
width.

The crack diminishes less in r o than in
m n, in proportion as there is less material
between r and o than between ;/ and m.

Any crack made - in a concave wall is
wide below and narrow at the top ; and this
originates, as is here shown at bed, in
the side figure.

1. That which gets wet increases in
proportion to the moisture it imbibes.

2. And a wet object shrinks, while drying,
in proportion to the amount of moisture which
evaporates from it.

773. 2. dappiedi esstrtte da cha. 3. ellor chausa. 5. secha. 6. chon. 7. Ecquel . . gro. 8. secha chon. 9. ch5ta. 10. del
qual mezo comesse. u. fussi. 12. fichato. 13. resstassi. 14. chontatto. 15. sirisstrignie. 16. cias chun . . ellumido
17. grideza. 18. [il] quel chesassciugha. 19. restringnie 20. ecquel . . Inumidito. 21. assciugha. 22. secho. 23. nona[re.
tenacita. 24. ch5. 25. secha. 26. delli . . archati. 27. esstretti. 28. archati. 29. esstretti . . nasschano. 30. chala.
31. lalteza . . largheza. 32. magiore. 33. larghezza . . lecho. 34. mesurie. 35. larghezza. 36. diminuisscie. 38. quado.
41. Oni . . tatta. 42. locho chochavo ellargha. 43. esstretta. 44. ecquesto nasscie. 45. dallato fighu. 47. chessi inumidis
48. scie cresscie. 49. ellumido. 51. chosa. 53. Ho assciugrare. 54. ellumido. 55. dallei.

772. The text of this passage is reproduced in
facsimile on PI. CVI to the left. L. 3640 are written

inside the sketch No. 2. L. 4146 are partly written
over the sketch No. 3 to which they refer.

WRITINGS ON ARCHITECTURE.

[773-

Br. M. 1580]

773-

DELLA CAVSA DEL RONPERE DELLI EDIFITI
PUBLICI E PR1VATI.

2 Romponsi li muri per fessure, che anno
del cliretto e alcune che 'anno dello obbliquo ;
le rotture che anno del diretto 4 son gienerate
dalli muri novi sin cogiutio de' muri vecchi di-
litti o co morse giute alii 6 muri vecchi, perche
tali morse, no potendoresistereallo ?insoppor-
tabile peso del muro a lor'cogiuto, e necies
8 sario a quelle ronpersi e dar loco al discieso
del predet 9 to muro novo, il quale cala vn
braccio per ogni 10 braccia, o piu I0 o meno,
secondo la maggiore o minore sorha di
calcina "interposta infra le pietre murate
e co calcina piu I2 o me liquida; E nota che
senpre si debbe iprima fare 'Jfi muri e poi
vestirli delle pietre che li ano a vestire, ^per-
che se cosl no si faciesse, il muro facciedo
maggiore calo che j sla crosta di fori, e' sa-
rebbe neciessario che le morse fatte I6 nelli
lati de' muri si ropessino; perche le pietre
che vestono li mu I7 ri, essendo di maggiore
grandezza che le pietre da quel l8 le vestite,
e neciessario che ricievino minor quatita di
calcina '^nelle loro comessure e per cose-
gueza faccino minore calo, 2 9il che accadere
no puo, essendo murate tali croste poi ch' el
rmr'ro e secco.

22 a b muro nuo 2 3vo, c e muro vechio
2 iche gia a fatto il calo, 2 5e lo a b fa il
calo poi, 26 beche a, essedo fonda 2 ?to
sopra il c muro 28 vechio, no si puo
in nes 2 9su modo ropere per ave 3 re
stabile fondameto 3' SO pra del muro
ve> 2 chio, ma sol si ronpe 33 ra il rima-
nete del mu 34 ro nvovo b c635ciosia
ch'elli e murato di 36 S opra dalla som-
mita del edifitio insino al fondo, 37 fa-
ciedo il rimanete del muro nuovo
beccatello ^ 8 sopra il muro che di-
sciede.

OF THE CAUSES OF FISSURES IN [THE WALLS
OF] PUBLIC AND PRIVATE BUILDINGS.

The walls give way in cracks, some of
which are more or less vertical and others
are oblique. The cracks which are in a
vertical direction are caused by the
joining of new walls, with old walls,
whether straight or with indentations fitting
on to those of the old wall; for, as these
indentations cannot bear the too great weight
of the wall added on to them, it is inevitable
that they should break, and give way to the
settling of the new wall, which will shrink
one braccia in every ten, more or less,
according to the greater or smaller quantity
of mortar used between the stones of the
masonry, and whether this mortar is more or
less liquid. And observe, that the walls
should always be built first and then faced
with the stones intended to face them. For, if
you do not proceed thus, since the wall settles
more than the stone facing, the projections
left on the sides of the wall must inevitably
give way ; because the stones used for facing
the wall being larger than those over which
they are laid, they will necessarily have less
mortar laid between the joints, and consequent-
ly they settle less; and this cannot happen
if the facing is added after the wall is dry.
a b the new wall, c the old wall, which
has already settled; and the part a b
settles afterwards, although a, being
founded on c, the old wall, cannot
possibly break, having a stable foun-
dation on the old wall. But only the
remainder b of the new wall will break
away, because it is built from top to
bottom of the building; and the re-
mainder of the new wall will over-
hang the gap above the wall that has
sunk.

773. i. chausa . . pubbici. 2. ronpasi . . alchune. 3. rocture. 4. novi fmurati in tepo brcvissimo]. 5. in chogiutio de muri
[no] ve "echi" . . cho. 7. allor chogiuto. 8. acquelle . . locho al disscicso. 9. chala vn br per ogni 10 br . oppiu
jo. sechondo . . ominore . . chalcina. xx. interpossta infralle . . cho chalcina. 12. ome . . chessenpre. 13. eppoi vesstirl.
chelli . avesstire. 14. chosi . . faciessi . . magiore chalo chel. 15. lacrossta . . farebe . . chelle. 16. vesstano. 17. esendo
. . chelle . . dacque. 18. vesstite . . chalcina. 19. chomessure e per choseghueza . . chalo. 20. achadere . . murato tale
crosste. ax. essecho. 22. muro [vechio] nuo. 24. affatto il chalo. 25. ello . . chalo. 30. fondame. 34. cho. 30. cio chelli.
37. bechatello. 38. \\\\\\il muro cheddistiede.

774 776.]

ON FISSURES IN WALLS.

Br. M. 159 6]

774-

Torre nova fundata 2 sopra la
vecchia in parte.

A new tower founded partly on old
masonry.

Br. M. 157 ]

775-

DELLE PIETRE CHE si Dis 2 GiucoNO DALLA LOR
CALCINA.

pietre d'equal numero nella loro
altezza, migrate con equal quatita di calcina,
fano equal s c alo nella partita dell'umido
che mollifi 6 c6 essa calcina.

7 Per lo passato si prvova che la poca
quatita 8 del muro nuovo interposta infra
A n fara po 9 co calo rispetto alia quatita
del medesimo mu I0 ro che s'interpone infra
c d, e tal fia la pro"portione che anno in-
fra loro le rareta delle I2 dette calcine qual'
e la proportioe delli ^nvmeri over delle
quatita delle calcine interpo^ste nelle comes-
sure delle pietre murate so is pra le varie
altezze delli muri vechi.

OF STONES WHICH DISJOIN THEMSELVES FROM
THEIR MORTAR.

Stones laid in regular courses from bottom
to top and built up with an equal quantity of
mortar settle equally throughout, when the
moisture that made the mortar soft evaporates.

By what is said above it is proved that
the small extent of the new wall between A and
n will settle but little, in proportion to the
extent of the same wall between c and d.
The proportion will in fact be that of
the thinness of the mortar in relation to
the number of courses or to the quantity
of mortar laid between the stones above the
different levels of the old wall.

A. 53 a]

776.

Questo muro si ropera sotto 1' arco e
/perche i sette quadrelli 2 integri no sono

soffitieti a sostenere il pie dell' arco sopra
postoli 3 e roperannosi questi 7 quadrelli
nel mezzo aputo come appare in a b ;

la ragione si e che il quadrello a a sola-
mete sopra se il peso a k s e 1' ultimo
quadrello sotto 1'arco a sopra se il peso

c d, x- a\ 6 c d- pare che facci fare for-

This wall will break under the arch e f,
because the seven whole square bricks are
not sufficient to sustain the spring of the
arch placed on them. And these seven
bricks will give way in their middle
exactly as appears in a b. The reason
is, that the brick } a has above it only
the weight a k, whilst the last brick under
the arch has above it the weight c d x a.

774. 2. sopra il vechio.

775. i. chessi. 2. giughano . . chalcina. 3. puetre. 4. chon . . chalcina. 8. cho . . chalcina. 7. la passata . . chella pocha.
9. pocho chalo risspecto. 10. chessinterpone . . ettal. n. portione [di] che anno infralloro. 12. chalcine. 13. chal-
cine. 14. ste . . chomesure.

776. i. Quessto . . larcho [c] e . f. 2. assosstenere . . archo . . posstoli. 3. e roperanosi . quesste . . mezo . . chome apare.
6. larcho. 7. cheffacci . . archo uerlasspalla. 8. archo. 9. chome . . dopio.

775. See PI. CV, No. I. The top of the tower is wanting in this reproduction, and with it the

letter n which, in the original, stands above the letter A over the top of the tower, while c stands
perpendicularly over d,

VOL. II. L

WRITINGS ON ARCHITECTURE.

[776.

za all'arco verso la spalla nel puto / , 7 ma
il peso / o 11 fa resistetia , ode tutto il
peso ne va nella radice delParco; 8 adu-

c d seems to press on the arch towards
the abutment at the point / but the weight
/ o opposes resistence to it, whence the whole

que fa la radice delli archi come 7 6, ch' e
piu forte il doppio che x z.

pressure is transmitted to the root of the
arch. Therefore the foot of the arch acts
like 7 6, which is more than double of x z.

II.

ON FISSURES IN NICHES.

lir. M.

777-

DELLE ROTTURE BELLI NICHI.

2 L'arco fatto del semicircolo, il quale
fia carico nelli 3 due oppisiti terzi della sua
curvita, ropera in 4 cinque lochi
della sua curvita; provasi e sieno
li pe 5 si n m, li quali rompono
esso arco a b f ., dico per lo
6 passato come c a stremi sono
equalmete aggravati dal peso n,
7 seguita per la 5 a che 1'arco ronpera
nella parte piii remota dalle 8 due
potentie che lo premono, il quale
e il mezzo e , e altre^tanto intedo
aver detto dell' arco opposite d
g d; adu I0 que n m pesi vegono
a discedere, e disceder no posso lj no per la
7 a che non si faccl piu vicini, e avicinar
no si pos I2 sono, se 1'arco che infra lor s'in-
terpone non avicini li sua ^stremi, li quali
no si possono accostare sanza
rottura del ^suo mezzo; adu-
que 1'arco si ronpera in 2
lochi come fu primo ^pos-
to ecc.

l6 Domada del peso dato in *
a, che parte ne risponde I n
'yiinia, e co che peso s'a a
vinciere il peso posto in /.

ON FISSURES IN NICHES.

An arch constructed on a semicircle and
bearing weights on the two opposite thirds
of its curve will give way at five
points of the curve. To prove
this let the weights be at n m
which will break the arch a,
b, f. I say that, by the foregoing,
as the extremities c and a are
equally pressed upon by the thrust
n, it follows, by the 5 th , that
the arch will give way at the point
which is furthest from the two forces
acting on them and that is the middle
e. The same is to be understood of
the opposite curve, d g b; hence the weights
n m must sink, but they cannot sink by the 7 th ,
without coming closer together, and they can-
not come together unless the extremities of the
arch between them come closer,
and if these draw together the
crown of the arch must break; and
thus the arch will give way in
two places as was at first said &c.
I ask, given a weight at a what
counteracts it in the direction n
f and by what weight must the
weight at / be counteracted.

777. i. rocture. 2. semil . . charicho. 3. churvita. 4. churvita prosi essieno. 5. ronpano . . archo . . per la. 6. passata chome
ca"stremi" sono ecqualmete agravati. 7. seguita "per la 5" chellarcho." 8. chello priemano . . altrec. 9. archo . . addu.
10. veghano addissciedere e disscieder no possa. 12. sano dellarclio che infrallor. 13. achosstare. 14. larcho . . chome
fu pr"o" . ne rissponde. 17. cho . . possto.

8 4

WRITINGS ON ARCHITECTURE.

[778.

Br. M.

778.

BELLA DIMINUITIONE DE'CORPI VMIDI a Di

GROSSEZZA O LARGHEZZA DIFFORME.

ON THE SHRINKING OF DAMP BODIES OF
DIFFERENT THICKNESS AND WIDTH.

^ La finestra a e causa della rottura del
b e questa tal rot^tura e aumetata dal peso
n m, il quale piu si ficca ovvero penetra
intra la ter 5 ra che ricieve il suo fondameto,
che no fa la leuit& del b , e ancora il fo-
6 dameto vechio che sta sotto b a fatto il
calo, il che fatto non avea li pi^lastri n m
e la parte b non disciede perpendiculare,
anzi si gitta info 8 ri per obbliquo e non
si pu6 per 1'aversario gittare in detro,
perch tal parte disuni^ta dal tutto e piu
larga di fori che di dentro e li labri del
rimanente I0 e della medesima figura, e se
tal parte disunita avesse a etrare in den-
tro, "il maggiore entrerebbe nel mi-
nore, il che sarebbe inpossibile; adunque
12 e cocluso che per necessita la parte
di tale emiciclo si disuniscie dal tutto
col '^gittarsi colla parte inferiore infori
e non indetro come vole ^Pauersario
ecc.

'sQuando le tribune intere o mezze
16 sara di sopra vinte da superchio peso, al-
J 7lora le sue volte si aprirano l8 co apritura
diminuitiva ^dalla parte di sopra e larga
di sot 20 to e stretta dalla parte di dentro e
21 larga di fuori, a similitudine della 22 scorza
del pomo ovvero melaracia 2 ^ divisa in molte
parti per la sua Iughez 2 'za, che quato ella
sara premuta da! 25 le opposite parti della
sua lughezza, 26 quella parte delle giuture
piu si a 27 prira, che fia piu distate alia causa
28 che la prieme , e per questo mai si 2 9deb-
bono caricare li archi delle volte 3di qual-
unche emiciclo dalli archi dello 3 1 suo
edifitio massimo, perche quel che * 2 pi\i
pesa piu prieme sopra cio che li e di33sotto,
e piu disciende sopra li sua fon^dameti, il
che interuenire no pu6 35 a lle cose piu lieui
come sono li emi3 6 cicli predetti.

The window a is the cause of the crack
at b; and this crack is increased hy the
pressure of n and m which sink or penetrate
into the soil in which foundations are built
more than the lighter portion at b. Besides,
the old foundation under b has already
settled, and this the piers n and m have not
yet done. Hence the part b does not settle
down perpendicularly; on the contrary, it is
thrown outwards obliquely, and it cannot
on the contrary be thrown inwards, be-
cause a portion like this, separated from
the main wall, is larger outside than inside
and the main wall, where it is broken, is of
the same shape and is also larger outside
than inside ; therefore, if this separate portion
were to fall inwards the larger would have
to pass through the smaller which is impos-
sible. Hence it is evident that the portion
of the semicircular wall when disunited
from the main wall will be thrust outwards,
and not inwards as the adversary says.

When a dome or a half-dome is crushed
from above by an excess of weight the vault
will give way, forming a crack which dimi-
nishes towards the top and is wide below,
narrow on the inner side and wide outside;
as is the case with the outer husk of a
pomegranate, divided into many parts length-
wise; for the more it is pressed in the
direction of its length, that part of the joints
will open most, which is most distant from
the cause of the pressure ; and for that reason
the arches of the vaults of any apse should
never be more loaded than the arches of
the principal building. Because that which
weighs most, presses most on the parts be-
low, and they sink into the foundations ; but
this cannot happen to lighter structures like
the said apses.

778. i. chorpi. 2. "ollarghezza". 3. finesstra . . chausa . . roctura . . ecquesta . . roc. 4. ficha over . . intralla. 5. anchcia
6. chessta . . affatto il chalo. 7. lasstri n . m . ella . . dissciede per pedichulare . . infer. 8. po. 9. eppiu largha . .
cheddi dentro [ess] elli. 10. fighura essettal . . avessi. n. enterrebbc . . addunque. 12. e chocluso . . disunisscie . . chol.
13. gittari [dap] cholla . . inferiore [di] inforienone . . chome. 15. trebune . . omeze. 17. apirrano [chota]. 18. [tamaj
cho. 19. ellargha. 20. esstreta . . dentro el. 21. largha . . assimilitudine. 22. over. 23. imolte parte. 24. sara permuta.
25. parte . . lugheza. 26. quela. 27. pirra chcffia . . chausa. 28. chella . . quessto. 29. debbe charichare. 32. sopra chilli
edi. 33. dissciende. 35. chose . . chome. 36. predecti. 37. quessti . . chubi. 38. ho. 39. chubo. 40. chubo b sosspeso. 41. in-

778. The figure on PI. CV, No. 4 belongs to
the first paragraph of this passage, lines I 14;
fig. 5 is sketched by the side of lines 15 and

following. The sketch below of a pomegranate
refers to line 22. The drawing fig. 6 is, in the
original, over line 37 and fig. 7 over line 54.

toll.*? ~ Ji \ , \ \ L Vflf/ Aftw

. I Y 3 frr7l > M '<M |T

2j^r^*T H *rt >/*w *Y

W*:*fo ^V^-v'

^ *M^.rCJ^7 -/T /H^

f r' <j -*^ .,

778-]

ON FISSURES IN NICHES.

37 Qual di questi due cubi dimi^ 8 nuira
piu vniformemete , o 39il cvbo A posato
sopra il pavi'meto, o'l cubo b sospeso
41 infra 1'aria, essedo 1'uno 42 e 1'altro cubo
equal! in peso *3 e in quantita e di terra
mista 44 con equale vmidita?

45 Quel cubo che si posa sopra 46 il pavi-
meto piu diminui^scie della sua altezza che
per la * 8 sua larghezza, il che 4 ?far no puo
il cubo ch'e di 5 sopra e sospeso infra 1'a-
ria; S'pruovasi cosl; il cubo po S2 sato so-
pra questa medesima 53 S ta meglio qui di
sotto.

5411 fine delli dua cilindri di ss terra
fresca cioe a.b sa5 6 ra le figure piramidali
di s; sotto c d j provasi co5 8 sl : il cilindro a,
posato 59 sopra il suo pavimeto per esse 6o re
lui di terra assai mista 6l coll'umido, va ca-
lado me 62 diante il suo peso che da di se
6 3alla sua basa, e tato piu camera e in-
grossera, quato e'sa 6 5ra colle sua parti piu
presso 66 alla sua basa, perche 11 si cari 6 ?ca
il suo tutto ecc; E si 68 mile fara il peso d,
il quale pi 6 9u s'astedera, quato elli a mag-
gi?or peso sotto se, la qual maggiorita 7'e
ne'cofini del suo sostetaculo.

Which of these two cubes will shrink the
more uniformly: the cube A resting on the
pavement, or the cube b suspended in the
air, when both cubes are equal in weight
and bulk, and of clay mixed with equal
quantities of water?

The cube placed on the pavement dimi-
nishes more in height than in breadth, which
the cube above, hanging in the air, cannot
do. Thus it is proved. The cube shown above
is better shown here below.

The final result of the two cylinders of
damp clay that is a arid b will be the
pyramidal figures below c and d. This is
proved thus: The cylinder a resting on
block of stone being made of clay mixed
with a great deal of water will sink by its
weight, which presses on its base, and in
proportion as it settles and spreads all the
parts will be somewhat nearer to the base
because that is charged with the whole
weight, &c.; and the case will be the same
with the weight of b which will stretch
lengthwise in proportion as the weight at
the bottom is increased and the greatest ten-
sion will be the neighbourhood of the weight
which is suspended by it.

frallaria esse luno. 44. ellaltro chub. 43. missta. 44. chon. 45. chubo chessi. 47. alteza. 48. [che] il che. 49. chubo.
50. essosspeso. 51. chosi il chubo. 54. chilindri. 55. fressca. 56. ra le. 57. socto . . cho. 58. chilindro. 60. missta.
61. chollumido va chalado. 63. ettato piu cha. 64. egrossera. 65. cholle .. . parte. 66. chari. 67. cha . . Essi. 69. sas-
stedera . . magi. 70. laqqual magiorita. 71. cne chofusi . sostetachulo.

III.

ON THE NATURE OF THE ARCH.

779-

CHE COSA E ARCO.

2 Arco non e altro che una fortezza
cavsata da due debolezze, Jpero^ch^
1'arco negli edifiti e coposto di 2
quarti di circulo , i quali 4 quarti cir-
culi, ciascuno debolissimo per se, desi-
dera cadere, e opponeMosi alia ruina
1'uno dell' altro de'due debolezze, si cover-
tono in vni 6 ca fortezza.

WHAT is AN ARCH?

The arch is nothing else than a force
originated by two weaknesses, for the
arch in buildings is composed of two
segments of a circle, each of which
being very weak in itself tends to fall;
but as each opposes this tendency in

the other, the two weaknesses combine to

form one strength.

DELLA QUALITA DEL PESO BELLI ARCHI.

8 Poiche 1'arco fia coposto , quello ri
mane in equilibrio, Ipero9che tato spi-
gie 1'uno 1' altro quato 1' altro
1'uno-, e se pesa piv 1'uno I0 quarto
circulo che 1' altro , quivi fia leuata
e negata la permaneza, "imperoch^
'1 maggiore viciera il minore peso.

OF THE KIND OF PRESSURE IN ARCHES.

As the arch is a composite force it
remains in equilibrium because the
thrust is equal from both sides; and
if one of the segments weighs more
than the other the stability is lost,
because the greater pressure will out-
weigh the lesser.

DEL CARICO DATO AGLI ARCHI.

il peso equale de' quarti
circuli e neciessario dare loro equale
'+peso di sopra, altremeti si corre-
rebbe nel sopra detto errore.

OF DISTRIBUTING THE PRESSURE ABOVE AN ARCH.

Next to giving the segments of
the circle equal weight it is neces-
sary to load them equally, or you will
fall into the same defect as before.

779. i. chosa e archo. 2. archo . . * forteza . . deboleze. 3. larcho . . choposto . . circhuli. 4. circhuli ciaschuno . debolisimo
. . chadere eopone. 5. deboleze . . chouertano. 6. cha forteza. 7. dela . . deli. 8. choposto quelo . . equilibra. 9. chettato
. . esse e pesa. 10. circhulo . . premaneza. IT. magriore. iz. chartcho dati ali. 13. circhuli. 14. chorerebe . . erore

ON THE NATURE OF THE ARCH.

DOVE L'ARCO si ROPE.

l6 L'arco si ropera J
quella parte che passa il
suo mezzo sotto il cietro.

ROPIMETO DELL ARCO.

l8 Se '1 superchio peso fia
posto I mezzo 1'arco nel puto a ,
quello desi J 9dera cadere in b , e
ronpesi ne' 2 / 3 della sua altezza
m . c e, 20 e tato fia piu potete
g e che e a quanto 2I ;/z <? en-
tra in w n.

D'UN ALTRA CAGIONE DI RUINA.

2 3 L' arco verra ancora meno per essere
sospito da traverse, inpero 2 *che qua-
do il carico no si dirizza ai pie de-
1'arco, 2 s 1'arco poco dura.

WHERE AN ARCH BREAKS.

An arch breaks at the
part which lies below half
way from the centre.

SECOND RUPTURE OF THE ARCH.

If the excess of weight be pla-
ced in the middle of the arch at
the point a, that weight tends to
fall towards b, and the arch breaks
at 2 / 3 of its height at c e and g e
i is as many times stronger than e a,
as m o goes into m n.

ON ANOTHER CAUSE OF RUIN.

The arch will likewise give way under a
transversal thrust, for when the charge
is not thrown directly on the foot of the
arch, the arch lasts but a short time.

A. 50,5]

780.

DELLA FORTEZZA DELL' ARCO.

2 II modo di fare 1'arco permanete si e
a rienpiere i sua angoli di
buono ripieno 3 insino al suo
raso overo culmine.

ON THE STRENGTH OF THE ARCH.

The way to give stability to the arch is
to fill the spandrils with good

masonry up to the level of its

summit.

4 DEL CARICARE SOPRA L'ARCO TODO.

ON THE LOADING OF ROUND ARCHES.

s DEL CARICARE L'ARCO ACUTO BENE.

ON THE PROPER MANNER OF LOADING
THE POINTED ARCH.

6 DELLO INCOVENIETE CHE SEGUITA A CA-
RICARE 7 L'ARCO ACUTO SUL suo MEZZO.

ON THE EVIL EFFECTS OF LOADING

THE POINTED ARCH DIRECTLY ABOVE

ITS CROWN.

15. larcho. 16. larcho . . mezo [da], 17. sechodo . . archo. 18. imezo larcho . . quelo. 19. chadere . . dela . . alteza.
20. [c . in n che in . e] g . e. 22. chagione. 23. larcho vera . anchora . . esserre. 24. charicho . . diriza . . archo.
25. larcho pocho.

780. i. dela forteza delarcho. 2. larcho. 3. chulmine. 4. charichare . . larcho. 5. charichare larcho achuto. 6. delo incho-
veniete . . charichare. 7. larcho achuto . . mezo. 8. dano . . larcho achuto. 9. charichato sopra a sua fiachi. 10. larcho

WRITINGS ON ARCHITECTURE.

[ 7 8l.

"DEL DANNO CHE RICIEVE L'ARCO ACUTO
A ESSERE 9CARICATO SOPRA I SUOI FIACHI.

ON THE DAMAGE DONE TO THE POINTED

ARCH BY THROWING THE PRESSURE ON

THE FLANKS.

10 L'arco poco curvo fia sicuro
"ma se fia carico , le
spalle bisognia I2 bene
armare; '3 1' arco d'assai
curvita fia per se debole,
MC piv forte se fia carico
efara poca noia 'Salle sue
spalle , e lui ropera in
o-p.

per se,

-* e 1

c i

A. 51

781.

DEL RIPARO A TERREMOTI.

An arch of small curve is safe in itself,
but if it be heavily charged,
it is necessary to strengthen
the flanks well. An arch of a
very large curve is weak in
itself, and stronger if it be
charged, and will do little
harm to its abutments,and its
places of giving way are*/.

ON THE REMEDY FOR EARTHQUAKES.

The arch which throws its pressure

per 6 qualuque verso si stia, ?o rovescio, o
a giacere, 8 o ritto.

9lL'arco no si ropera se la corda
del' arco di fori no tocchera 1' arco di den-
trol; IO Questo-appare per isperieza, che
ogni-volta che la corda- a-o-n dell' arco
"di fori- n-r-a- tocchera -1' arco di dentro
x-b-y , 1'arco dark pricipio a sua 12 debo-
lezza , e tato si fara piv - debole quato
1'arco-di detro- ropera dessa- corda.

1 3 Quell' arco -il quale fia- carico dal'una
de'lati, I4 il peso si carichera sulla somita

its function whatever be its direction, upside
down, sideways or upright.

The arch will not break if the chord
the outer arch does not touch the inner
arch. This is manifest by experience,
because whenever the chord a o n of
outer arch n r a approaches the inner arch
x b y the arch will be weak, and it will
weaker in proportion as the inner arch passes
beyond that chord. When an arch is loaded
only on one side the thrust will press on
the top of the other side and be transmit!

780. Inside the large figure on the right is the note: Da par* I* f*na dM archo.

782-784.]

ON THE NATURE OF THE ARCH.

8 9

dePaltro mezzo-, e pas'Ssera
il peso per isino al suo fon-
dameto , e ropera in quella I(3 par-
te che fia piv lontana dai sua
stremi e dalla sua corda.

to the spring of the arch on that
side; and it will break at a point
half way between its two extre-
mes, where it is farthest from
the chord.

H.I 35*1

La quatita cotinua,
che per forza in arco
2 fia piegata, splgie per
la linia, ode deside^ra
tornare.

H.I 36 a]

L'arco di quatita discreta
fa forza 2 per linia obliqua,

782.

cioe il triangulo
sete peso

n b no

783.

A continuous body
which has been forcibly
bent into an arch, thrusts
in the direction of the
straight line, which it
tends to recover.

In an arch judiciously
weighted the thrust is oblique,
so that the triangle c n b
has no weight upon it.

S. K. M. Il.a 676]

784.

Domando qui che 2 pesi fieno quelli
^ de' contrapesi a fa^re resistetia alia
di ciascun arco?

I here ask what weight will be needed to
counterpoise and resist the tendency of each
of these arches to give way?

chera sula soraita . . mezo e pa. 15. quela. 16. cheffia . . dala.
782. 13 R. i. archo. 2. fie. 783. i 3 R. i. larcho.

784. 2. hce pesi. 3. affa. 4. resisetia.

784. The two lower sketches are taken from the MS. S. K. M. Ill, io; they have there no explanatory text.

VOL, II. M

WRITINGS ON ARCHITECTURE.

[785.

Br. M. 158 6}

DELLA POTETIA DELL'ARCO NELL'ARCHI-

TETTURA.

785.

THE STRENGTH OF THE ARCH IN ARCHI-
TECTURE.

3 La permaneza dell' arco fabbricato dallo
architetto coivsiste nella corda e nelle spalle
sue.

DELLA SITUATIONS DELLA CORDA NEL SOPRA
DETTO ARCO.

5 La situatione della corda a equale ne-
cessita nel princi 6 pio dell'archo, e nel fine
della rettitudine del pilastro 7 dove si posa;
pruovasi per la 2 a delli sostetaculi che
dicie: 8 Quella parte del sostentaculo manco
resiste che e piu remota dal fersmame'to
del suo tutto; adunque essendo la * "somita
del pilastro vltima reniotione d il suo fer-
mameto, e '1 si 1 'mile accadedo ntlli oppositi
stremi dell' arco, che sono vl^tima distantia
dal mezzo, suo vero fermameto, noi abbia
con^cluso, che tal corda a b di neciessita
richiede la situatione delli J *sua oppo-
siti stremi infra li 4 oppositi stremi pre-
detti;

'5 Dicie 1' auersario che tale arco vole essere
piu che mezzo I6 tondo, e allora non avra
bisognio di corda perche tali stremi J 7no
spignerano infuori, ma indentro, come si di-
l8 mostra nello ecciesso a c b d\ Qui si
risponde, tale ^inventione essere trista per
5 cause, e la prima e inquanto 20 alla for-
tezza, perche e provato jl paralello cir-
2I culare, essendo coposto di due semicirculi,
sol ropersi dove "tali semicirculi insieme
si congiugono, come mo 23 stra la figura ;/ m ;
oltre a di questo seguita, ch'egli e mag-
2 4giore spatio infra li stremi del semicirculo
che infra le pa 2 5rieti delli muri; terza e che '1
peso posto per cotro alia fortezza 26 dell' arco
diminuiscie tanto di peso, quato le poste
dell'arco 2 7 sono piu larghe che detto spatio
interposto infra li pilastri, 4* e 28 che li pilastri
indeboliscono per tato quato la parte loro

The stability of the arch built by an
architect resides in the tie and in the
flanks.

ON THE POSITION OF THE TIE IN THE
ABOVE NAMED ARCH.

The position of the tie is of the
same importance at the beginning of the
arch and at the top of the perpendicular
pier on which it rests. This is proved
by the 2 nd "of supports" which says: that
part of a support has least resistance which
is farthest from its solid attachment; hence,
. as the top of the pier is farthest from the
middle of its true foundation and the same
being the case at the opposite extremities of
the arch \\hich are the points farthest from the
middle, which is really its [upper] attachment,
we have concluded that the tie a b requires to
be in such a position as that its opposite ends are
between the four above-mentioned extremes.

The adversary says that this arch must
be more than half a circle, and that then it
will not need a tie, because then the ends
will not thrust outwards but inwards, as is
seen in the excess at a c, b d. To this it
must be answered that this would be a very
poor device, for three reasons. The first
refers to the strength of the arch, since
it is proved that the circular parallel
being composed of two semicircles will
only break where these semicircles cross
each other, as is seen in the figure n m',
besides this it follows that there is a wider
space between the extremes of the semicircle
than' between the plane of the walls; the
third reason is that the weight placed to
counterbalance the strength of the arch
diminishes in proportion as the piers of the
arch are wider than the space between the
piers. Fourthly in proportion as the parts
at c a b d turn outwards, the piers are weaker
to support the arch above them. The 5 th
is that all the material and weight of the

785. i. dellarcho. 2. premaneza dellarcho fabrichato . . architettoch \\\\\\. 3. chorda. 4. chorda . . archo. 3. chorda allaq"a"
neciessita. 6. rectitudine del pilasstro. 7. dovessi . . pella . . sostetachuli cheddicie. 8. sostentachulo ma. 9. tucto . .
essendo [la somita delli] la. 10. somita . . pilasstro . . repotione. n. achadedo [nellarcho] ntlli . . archo chessono . .
chon. 13. chluso chettal chorda "a b" di. 14. infralli . . predecti. 15. chettale archo. 16. ara . . chorda. 17. no [gitte-
ranno] inspignierano . . indreto. 18. mosstra . . rispoule. 19. trissta per "5" [tre] chause ella . . e inq. 20. provato
[larcho sol] jl. 21. chulare . . choposto . . semice . . 22. semicirchuli . . chongiughano . . mos. 23. fighura . . quessto
. . ema. 24. infralli . . semics . . infralle. 25. riete . . possto perchotro. 26. archo diminuisscie . . posste dellarcho. 27. e
piu largha . . interpostu infralli pilasstri\\\\\. 28. \\\\ elli pilasstri indebolisschano. 29. larcho . . la 5" he. 30. chettutta.

786.]

ON THE NATURE OF THE ARCH.

c a 2< *b d si piegha indirieto nel ritienere
sopra di se 1'arco; la 5 a e 3che tutta la spesa
e '1 peso dell' arco che eccede il mezzo tondo
3 J e inutile e dafioso, ed e qui da notare,
che il peso 3 2 sopra posto all' archo ropera
co piu facilita 1'arco in a b troua^do la
curuatura dell'ecciesso che al mezzo circulo
s'agiugnie 34 che essendo dirieto il pilastro
insino al cotatto del semicirculo.

LARCHO IL QUALE E CARICO SOPRA IL suo

MEZZO ROPERA 3 6 NEL SUO QUARTO DESTRO
E SINISTRO.

37Frouasi per la 7 a di questo che dicie
38 tie opposite stremita delli sostetaculi sono
equalmete agra39yate dal peso che per lor
si sospede; aduque il peso dato in /si 4 sete
in b c cioe mezzo per ciascuno stremo, e
per la terza che dicie: 4I Quella parte del
sostetacolo d' equal potetia piu presto si
rompe 42 che e piu distante al suo ferma-
meto, ode seguita che .... 4 3per essere d
equalmente distate al f e ferma

arch which are in excess of the semicircle
are useless and indeed mischievous; and here
it is to be noted that the weight placed above
the arch will be more likely to break the
arch at a b, where the curve of the excess
begins that is added to the semicircle,
than if the pier were straight up to its
junction with the semicircle [spring of the
arch].

AN ARCH LOADED OVER THE CROWN WILL GIVE

WAY AT THE LEFT HAND AND RIGHT HAND

QUARTERS.

This is proved by the 7 th of this which
says: The opposite ends of the support are
equally pressed upon by the weight suspended
to them; hence the weight shown at f is
felt at b c, that is half at each extremity;
and by the third which says: in a support
of .equal strength [throughout] that portion
will give way soonest which is farthest from
its attachment; whence it follows that d being
equally distant from /, e

35 Se 1'armadura dell'ar3 6 co no cala in-
sieme 37 C ol calo dell' arco, la cal3 8 cina nel
seccarsi restri39gnie in se medesima e 4 si
spicca dall'u de'matto 4I ni, alii quali ella per
co! 42 legarli e interpo 43 sta, e cosl li lascia
dis 44 legati, per la qual co 4 5sa la uolta resta
disu 46 nita e le pioggie in brie 47 ve la ruinano.

If the centering of the arch does not
settle as the arch settles, the mortar, as it
dries, will shrink and detach itself from the
bricks between which it was laid to keep
them together; and as it thus leaves them
disjoined the vault will remain loosely built,
and the rains will soon destroy it.

786.

DELLA FORTEZZA E QUALITA DELLI ARCHI, E ON THE STRENGTH AND NATURE OF ARCHES,
DOVE SONO FORTI 2 O DEBOLI E COSI LE AND WHERE THEY ARE STRONG OR WEAK; AND
COLONNE. THE SAME AS TO COLUMNS.

IMQuella parte dell' arco che fia piv
piana, fara minore resistetia 4 al peso so-
pra postoli.H

That part of the arch which is nearer
to the horizontal offers least resistance to the
weight placed on it.

archo . . eciede. 31. [dellarcho] e innutile. 32. possto . . larcho. 33. churuatura . . mezo circhulo. 34. pilasstro . . cho-
tatto. 35. charicho . . mezo. 36. desstro essinisstro. 37. cheddicie. 18. sosstetachuli seno. 40. ciasscuno. 41. sosste-
tacholo . . si r\\\\\\\\\\. 42. disstante . . seghuita che \\\\\\\\\\. 43. deq distante al f e ferma \\\\\\\\\\\\\\\. 36. cho no chala.
37. chol chalo dell archo. 38. secharsi. 40. sispicha. 41. chol. 42. legharsi. 43. e chosi. 44. leghati . . qual che. 45. la
la . . ressta. 46. elle. 47. ve le.
786. i. forteza. 2. chosi le cholone. 3. archo cheffia. 6. chalando chaccia. 7. ciaschuno 1/2 archo. 8. echosi. n. ciasschuno

9 2

WRITINGS ON ARCHITECTURE.

[ 7 86.

z n 6 calan-

sQuando jl triagolo
do caccia indirieto
7j 2 / 3 di ciascuno
'/a arco 8 cioe a.s-e
cosl z m, ela 9ra-
gio si e che a
pioba sopra b, I0 e
cosl 5- sopra /.

1 ' Ciascuno */ 2 arco , sendo vinto dal
superchio peso , si ronpera ne 2 / 3 della
"sua altezza-, la quale-parte risponde per
perpediculare linia sopra il mezzo della
sua l * basa- come appare in a b\ E questo
accade che'l pe o desidera cadere '*e pas-
sare pel puto r ; E s'egli desiderasse cotra
sua natura cade'Sre dal puto s -, 1'arco
M s si roperebbe nel stio mezzo apputo
16 e se 1' arco n s - fusse d' u solo legnio, il
peso posto in- desidereb'7be cadere in
m e ronperebbesi in mezzo * 2 all' arco e-
m , altremeti si ropera nel terzo l8 di sopra
nel puto l ?a -, perche da a n 20 e 1'arco
piv pia 2I no, che non e da 22 a o e che
no^n e da o s; 2 4,e tanto quato *$p .t - e
maggio 26 re che t-n-^ tanto fia piv for 28 te
-a o che 2 9non e a n ; -Je similmete
3 1 tanto fia piv * 2 forte s o che 33 - a
quato ^r- p fia maggi^ore che p t.

3 6 Quel arco che fia raddoppiato nella
quadratura della sua grossezza 37 re giera
quattro tanti peso quanto regieva lo sce-
pio , tanto piv 3 8 quanto il diamitro della
sua grossezza entra me numero di uolte
nella 39 S ua lunghezza, Cioe se la grossezza
delFarco sciepio entra- 10 * volte nella sua

lughezza, la grossezza del arco dupplicato

etrera 5 volte *' nella sua lughezza ; Adu-
que entrado la meta meno la grossezza de
4 2 P arco- dupplicato nella sua lunghezza
che no fa quella de+ 3 1'arco- sciepio nella

sua -, e ragionevol cosa che regga la meta
piv 4peso che no gli toccherebbe, se fusse
alia proportione dell' aH SCG sciepio; Onde
essendo quest' arco dupplicato per 4 volte
la qua4 6 tita del' arco sciepio, parrebbe che
dovesse regiere?4 tati piv peso, 47 e la sopra
detta regola dimostra che ne sostiene 8 co-
tati apputo.

When the triangle u z n, by settling,
drives backwards the
2 / 3 of each '/ 2 circle
that is a s and in the
same way z m , the
reason is that a is
perpendicularly over
b and so likewise z
is above f.
Either half of an arch, if overweighted,
will break at 2 / 3 of its height, the point which
corresponds to the perpendicular line above
the middle of its bases, as is seen at a b;
and this happens because the weight tends
to fall past the point r. And if, against its
nature it should tend to fall towards the
point s the arch n s would break precisely
in its middle. If the arch n s were of a single
piece of timber, if the weight placed at n
should tend to fall in the line n ni, the arch
would break in the middle of the arch e m,
otherwise it will break at one third from the
top at the point a because from a to n
the arch is nearer to the horizontal than from
a to o and from o to j, in proportion as / /
is greater than t n, a o will be stronger than
a n and likewise in proportion as s o is
stronger than o a, r p will be greater than / /.
The arch which is doubled to four times
of its thickness will bear four times the
weight that the single arch could carry, and
more in proportion as the diameter of its
thickness goes a smaller number .of times
into its length. That is to say that if the
thickness of the single arch goes ten
times into its length, the thickness of the x
doubled arch will go five times into its length.
Hence as the thickness of the double arch
goes only half as many times into its length
as that of the .single arch does, it is
reasonable that it should carry half as
much more weight as it would have to carry
if it were in direct proportion to the
single arch. Hence as this double arch has
4 times the thickness of the single arch, it
would seem that it ought to bear 4 times
the weight; but by .the above rule it is
shown that it will bear exactly 8 times as
much.

'/2 archo. 12. alteza . . risponde perpedichulare . . mezo dela. 13. chome apare . . Ecquesto achade . . chadere.
14. Essegli desiderassi . . chotra . . chade. 15. larcho . . roperebe . . aputo. 16. esselnrcho (in) fussi . . desidere. 17. be cha-
dere eronprrebesi in 1/2 archo. 20. elarcho. 25. magio. 30. essimilmete. 34. magi. 36. archo . cheffia radopiato . . grosseza.
37. lossciepio . Ettanto. 38. grosseza. 39. lungeza . . sella grosseza dellarcho duplichato etera. 40. volte ila . . lugeza
la grosseza . . archo duplichato etera. 41. nela . . lugeza . . grosseza. 42. larcho duplichato . . lungeza che no fa che
no fa. 43. larcho . . chosa che rega. 44. peso |ap] che . . tocherebe [ali] sefuss ssi ala. 45. cho . . archo duplichato.
46. archo . . parebe . . dovessi. 47. cbotali aputo. 48. cheffia charicho . . diseghuale . . vcra. 49. macho. 50. cholona . . cha

ON THE NATURE OF THE ARCH.

QUEL PILASTRO CHE FIA CARICO DI PIV DI-
SEGUALE 49 PESO VERRA PIV PRESTO AL MACO.

50 La colonna c b - per 1'essere carica
d' equale somma fia piv perma-
nete, $ l e 1'altre 2 di fori ano
bisognio di tato peso dal loro
cietro infori S2q U at'e dal loro
cietro indetro cioe dal cietro
della colonna insino a mezzo 1'arco.

53 Li archi che stano per forza di catene
no fieno permaneti.

L'ARCO FIA DI PIV LUGA PERPETUITA , IL

QUALE AVRA BONO * CONTRARIO AL SUO

SPIGIERE.

55 L' arco per se desidera cadere, e se 1' ar-
co fia 30 braccia e lo iteruallo
ch' e infra i mvri s^che lo so-
stegono sia 20 , noi sap-
piamo che 30 no passera per
20, se 20 no si 57 fa ancora
lui 30 ; ode sendo vinto
1' arco dal superchio peso si
dirizza e i mvri s8 ma i e resiteti
1'aprono e dano 1'entrata in-
fra loro spatio alia ruina
del' arco; 59Ma se tu no uolessi mettere al-
1'arco la sua corda di ferro, li debbi fare
tali 6o spalle che facciano resistetia al suo
spingiere, la qual cosa farai cosl : carica
61 li angoli m n di pietre che le linie delle
loro givnture se dirizzino al cientro 62 del
circulo del' arco, E la ragione, che sara
1'arco permanete, fia questa, Noi 6 3sap-
piamo chiaro che chi carica 1'arco nel
quarto suo a - b di superchio peso che' 1
6 ^muro -f-g- fia sospmto, perche 1'arco si
uorra dirizzare; E chi caricasse Paltro
quarto 6 s . c ch'eli tirerebbe il mvro
f-g- indetro, se no fusse la linia delle
pietre ^x y che fa sostegnio.

THAT PIER, WHICH is CHARGED MOST UN-
EQUALLY, WILL SOONEST GIVE WAY.

The column c b , being charged with an
equal weight, [on each side] will be
most durable, and the other two out-
ward columns require on the part out-
side of their centre as much pressure
as there is inside of their centre,
that is, from the centre of the co-
lumn, towards the middle of the arch.
Arches which depend on chains for their
support will not be very durable.

THAT ARCH WILL BE OF LONGER DURATION

WHICH HAS A GOOD ABUTMENT OPPOSED TO

ITS THRUST.

The arch itself tends to fall. If the arch be
30 braccia and the interval be-
tween the walls which carry it
be 20, we know that 30 cannot
pass through the 20 unless 20
becomes likewise 30. Hence
the arch being crushed by the
excess of weight, and the walls
offering insufficient resistance,
part, and afford room between
them, for the fall of the arch.
But if you do not wish to strengthen the arch
with an iron tie you must give it such
abutments as can resist the thrust; and you
can do this thus: fill up the spandrels m n
with stones, and direct the lines of the joints
between them to the centre of the circle
of the arch, and the reason why this makes
the arch durable is this. We know very
well that if the arch is loaded with an ex-
cess of weight above its quarter as a b, the
wall f g will be thrust outwards because the
arch would yield in that direction; if the
other quarter b c were loaded, the wall f g
would be thrust inwards, if it were not for
the line of stones x y which resists this.

S. K. M. II. 2 661]

FONDAMETO.

787-

2 Qui si dimostra come li archi 3 f a tti ne'
lati dell' ottagolo spmgo^no i pilastri delli

PLAN.

Here it is shown how the arches made
in the side of the octagon thrust the piers

richa . . soma . . premanete. 51. ano . . tado . . daloro. 52. daloro . . cholona . . ihezo. 53. stano . . chatene. 54. larcho . .
ara . . chontrario. 55. larcho . . chadere Esselarcho . . 30 br . . Tterualo. 56. sostegano . . sapiano. 57. anora . . larcho
. . diriza. 58. laprano edano . . ala . . archo. 59. Massettu . . archo . . chorda. 60. spale cheffacino . . chosa . . chari-
cha. 61. chelle . . dele . . dirizino. 62. circhulo . . archo .' . larcho . . premanete. 63. sapiano . . chariche larcho.
64. larcho si uora dirizare . . charichassi. 65. tirerebe . . fussi. 66. cheffa.
787. 2. dimosstra chome. 3. caciarlo.

WRITINGS ON ARCHITECTURE.

[ 7 88.

angoli infori, Scome si
dimostra nella linia k c
6 e nella linia / d che
spingono ^ il pilastro m
in fori, ciod si 8 sforzano
cacciarlo dal cietro di tale
^ottangolo.

of the angles outwards, as
is shown by the line h c
and by the line / d which
thrust out the pier m ;
that is they tend to force
it away from the centre of
such an octagon.

B. 37 a]

788.

La sperieza che vn peso posto sopra
vno arco no si carica tutto sopra alle sua
colon 2 ne, anzi quato e maggior peso fra-
posto sopra 1'archi , tanto me pesa ^I'arco
il peso alle colone ; la sperienza sie questa :
sia messo vn omo * sopra le stadere in mezzo
la troba d'uno pozzo; fa dipoi che questo
allarghi le mani s e piedi infra le parieti di
detto pozzo , vedrai questo pesare alia sta-
dera molto meno ; da li vno peso alle
spalle, uedrai per sperieza quato maggior
7 peso ti dara, maggiore forza fara in aprire
le braccia eganbe, e piv p6 8 dare nelle parieti,
e piv macare il podo alle stadere.

An Experiment to show that a weight
placed on an arch does not discharge itself
entirely on its columns; on the contrary the
greater the weight placed on the arches, the less
the arch transmits the weight to the columns.
The experiment is the following. Let a man
be placed on a steel yard in the middle of
the shaft of a well, then let him spread out
his hands and feet between the walls of the
well, and you will see him weigh much less on
the steel yard; give him a weight on the
shoulders, you will see by experiment, that the
greater the weight you give him the greater
effort he will make in spreading his arms
and legs, and in pressing against the wall
and the less weight will be thrown on
the steel yard.

788. i. archo . . carica tu sopra . . colo. 2. magior. 3. larcho el . . cholone . . questa si mezzo. 4. imezo . . pozo. 5. pozo
. . ala. 6. spalli . . isperieza . . magior. 7. darai magiore. 8. pariete . . mac hare.

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IV.

ON FOUNDATIONS, THE NATURE OF THE GROUND AND

SUPPORTS.

Br. M. 1380]

789.

La prima parte neciessarissima e la loro
permanetia.

2 Delli fondameti che anno le mebrifica-
tioni componi3trici delli tepli e altri edi-
fiti public!, tal proporti 4 one deve essere da
profondita a profondita quale s e da peso a
peso che scaricare si deve sopra essi me 6 bri.

?Ogni parte della pro 8 fondita, che a la
terra 9 per alquato spatio, e I0 fatta a suoli,
e o TI gni suolo e coposto di I2 parti, piu
grave '3e piv leue Puna chel'aHtra; nel pro-
fondarsi e piu grave, e questo si prova,
is perche qu'esti tali soli so co^posti dalle
turbulentie l6 delle acque scaricate I l8 mare
dal corso de' fiumi, X 9che in quello ver-
sano, 20 delle quali turbulentie 2I la parte
piu grave fu 22 quella che prima 2 3si scarico
successiva 24 mete, e" questo fa Pac 25 qua, dov'
ella si ferma, Ie 26 vado prima dove es 2 ?sa
si move; E di que 28 sti tali soli di terra
2 9si manifesta nelli lati 3di fiumi che coi lor
con3 T tinui corsi anno secati z 2 e partiti con
gra pro33fondita di tagli Pu m634te dall'al-
tro, doue per li 35ghiajosi soli 1' acque so 36 no
scolate e per questo 37 l a materia si e sec-

The first and most important thing is
stability.

As to the foundations of the component
parts of temples and other public buildings,
the depths of the foundations must bear
the same proportions to each other as the
weight of material which is to be placed
upon them.

Every part of the depth of earth in a
given space is composed of layers, and
each layer is composed of heavier or
lighter materials, the lowest being the
heaviest. And this can be proved, because
these layers have been formed by the sedi-
ment from water carried down to the sea,
by the current of rivers which flow into it.
The heaviest part of this sediment was that
which was first thrown down, and so on by
degrees; and this is the action of water
when it becomes stagnant, having first
brought down the mud whence it first flowed.
And such layers of soil are seen in the banks
of rivers, where their constant flow has cut
through them and divided one slope from
the other to a great depth; where in gra-
velly strata the waters have run off, the ma-

789. i. ella loro perfnanentia. 2. chean le mebrificationi chonponi. 3. pubblici. 4. debbe . dapprofondita approfondita. 5. dap-
peso . . chesscarichare si debbe. 8. alia. 9. spatiotio. 10. faetata assuoli. n. chopossto. 12. parte . . grave [opi]..
13. eppiv lievi luna chellal. 14. tra "nel -grave" ecquesto.si prove. 15. quessti. 16. turbbulentie. 17. scharichate. 21. fuc.
22. prim"a". 23. sisscharicho. 24. ecquesto fallac. 25. ferme. 29. manifessta. 30. cholor chon. 31. chorsi an seghati.
32. esspartiti. 34. dallaltre. 35. gliorosi. 37. se secha. 38. chovertita. 40. fagho. 41. ecquesto. 43. tereste. 45. chosi
de choverso.

WRITINGS ON ARCHITECTURE.

[790. 791.

cata 3 8 ecouertita in dura 39pietra, e massime
di *quel fago, che era piu 4'sottile, e questo
ci < 2 fa cocludere, che ogni par 4 He della ter-
restre superfitie fu * gia cietro della terra e

de coverso ecc.

terials have, in consequence, dried and been
converted into hard stone, and this happened
most in what was the finest mud; whence
we conclude that every portion of the sur-
face of the earth was once at the centre of
the earth, and vice versa &c.

790.

UQuellaparte del fondameto delli edifiti
che piv pesa 2 piv si ficca e lascia in alto
il piv leggiero disunite da se; 1 3 1E quel ter-
reno ch' e piv premvto, sendo poroso , piv
acconsente ; 1 Senpre tu devi fare i fon-
dameti che sportino egualmete fori del
scarico-de'lor mvri e pilastri come appare
in m a b , e se 6 farai come molti fanno,
cioe di fare uno fondameto d'equale 7 lar-
ghezza in sino alia superfitie della terra,
e di sopra li danno diseguale 8 carico come

The heaviest part of the foundations of
buildings settles most, and leaves the
lighter part above it separated from it.

And the soil which is most pressed, if
it be porous yields most.

You should always make the foundations
project equally beyond the weight of the walls
and piers, as shown at m a b. If you do
as many do, that is to say if you make a
foundation of equal width from -the bottom
up to the surface of the ground, and charge

si dimostra in b e e in e o, la parte del
fonda^meto b e, perche e piena dal pilas-
tro del catone , piv pesa e piv splgie xo in
basso il suo fodameto che no fa il muro-
e o che non occupa 1 1 interamete il suo
fodameto, e pero meno spegnie e me si
ficca, I2 onde ficcadosi il pilastro b e - e si
diunisce e parte dal mv^ro e o come si
uede nel piv delli edifiti che sono spicati
intorno a detti pilastri.

it above with unequal weights, as shown at
b e and at e o, at the part of the foundation
at b e, the pier of the angle will weigh most
and thrust its foundation downwards, which
the wall at e o will not do; since it does not
cover the whole of its foundation, and there-
fore thrusts less heavily and settles less. Hence,
the pier b e in settling cracks and parts
from the wall e o. This may be seen in most
buildings which are cracked round the piers.

A. S3"!

La finestra a sta bene sotto
2 la finestra c - e la finestra -3- b
sta male sotto lo spatio **/,
perche detto spatio e sanza
Ssostegnio e fondameto, 6 si che
ricordati di no ropere 7 mai sotto
li spati delle finestre.

791.

The window a is well placed
under the window c, and the win-
dow b is badly placed under the
pier d, because this latter is without
support and foundation; mind there-
fore never to make a break under
the piers between the windows.

790. i. Quela. 2. ficha . ellasscia . . el . . legieri . dasse. 3. Ecquel tereno . . achosete. 4. debi . . chessportino. 5. pilasstri
chome "aparc . . csse. 6. chome . . ! fondameto [equi] de quale. 7. largeza . . ala . . delatera . . dano. 8. charicho.
9. chatone. 10. baso . . none ochupa. n. ficha. 12. fi[g] chadosi . . disunis>cie. 13. ckome . . chessono spichati. 14. pil.isslri.

791. 2. ella. 3. sotto [la finestra] lo spatio. 5. effondameto. 6. richordati.

792.]

ON SUPPORTS.

A. 48*5]

792.

DEL SOSTETACULO.

2 II pilastro moltiplicato per grossezza- A pillar of which the thickness is in-

cresciera tanto piv che la sua debita po- creased will gain more than its due

tetia 3quato e' maca della ragionevole strength, in direct proportion to what its

altezza. loses in relative height.

ESENPLO.

s Se uno pilastro debe essere alto 9
grossezze-, cioe che s'egli sara- grosso uno
braccio, la regola 6 lo pone di 9 braccia-;
se ne collegherai 100 insieme per gros-
sezza fia grosso braccia 10 e alto -9, 7 e se
ilprimo pilastro regieva 10000 libbre, perche
questo secodo non e alto se non e circa 8 a
una grossezza, e macadoli 8 parti della
lunghezza e' regiera piv otto volte, 9 cioe
ogni pilastro collegato li toccera a regi-
ere piv 8 volte che dislegato, cioe I0 che se
prima regieva dieci mila libbre , adesso ne
sosterra 90 mila.

EXAMPLE.

If a pillar should be nine times as high
as it is broad that is to say, if it is one
braccio thick, according to rule it should be
nine braccia high then, if you place 100
such pillars together in a mass this will be
ten braccia broad and 9 high; and if the first
pillar could carry 10000 pounds the second
being only about as high as it is wide, and
thus lacking 8 parts of its proper length,
it, that is to say, each pillar thus united,
will bear eight times more than when dis-
connected; that is to say, that if at first it
would carry ten thousand pounds, it would
now carry 90 thousand.

799. i. sosstetachulo. 2. pilasstro mvltiplichato per grosseza cressciera . tanto "piv che". 3. macha . . alteza. 5. Se I . . gros-
seze . . chesseli . . 1 br . [de] la. 6. 9 br . . cholegerai . . grosseza . br. 10. 7. esse . . Ibr . . sechodo . . circha.
8. a i grosseza e machadoli . . dela lungeza. 9. cholegato . . tochera. 10. chesse . . mila Ibr . . sostera.

VOL.

ON THE RESISTANCE OF BEAMS.

s. K. M. n.i 72 a] 793-

2 QuelPangolo sa^ra di piv resiste 4 tia That angle will offer the greatest resi-

che fia piv aScuto e '1 piv ottu 6 so fia piv stance which is most acute, and the most
debole. obtuse will be the weakest.

PALCO DOPPIO.

S. K. M. III. i got]

Se i travi e'l peso o
fia 100 libre, 2 quato
peso sara in a b a fa3re
resistetia a esso peso
che 4 no caggia in basso?

If the beams and the weight
o are i oo pounds, how much
weight will be wanted a.ia-b
to resist such a weight, that
it may not fall down?

A. 531 795-

BELLA LUNGHEZZA DELLE TRAVI.
1 Quella trave che fia luga piv che le

ON THE LENGTH OF BEAMS.

That beam which is more than 20 times

20 sua 3maggiori grossezze, fia poco per- as long as its greatest thickness will be of
manete e roperasi in 1 / 2 ; *e ricordati che brief duration and will break in half; and

793. 4. cheffia. 5. piotu.

794. 14 R. 2. affa. 3. resisstetia. ' 4. chaggio.

793. The three smaller sketches accompany the text in the original, but the larger one is not di-
rectly connected with it. It is to be found on fol. 89 a of the same Manuscript and there we read in
a note, written underneath, coverchio della perdicha del castello (roof of the flagstaff of the castle). Compare
also PI. XCIII, No. i.

795-J

ON THE RESISTANCE OF BEAMS.

la parte ch'etra nel mvro, sia penetrata
s di pece calda e fasciata d' asse di quercia,
acor essa penetrata ; 6 Ogni trave vole pas-
sare i sua muri e esser ferma di la da essi
mv^ri co soffitieti catene, perche spesso si

vede per terremoti le tra- f

vi usci 8 re de'mvri e rovi-
nare poi i mvri e solari;
dove, se sono icatenate,
9 terranno i mvri in si-
eme fermi, e i mvri fermano i solari.

10 Ancorati ricordo che tu no faci mai
i smalti sopra legni lj ame, imperoche nel
cresciere e discresciere che fa il legname
12 per 1'umido e secco, spesse volte cre-
pano detti solai e crepa^te le loro diuisioni
a poco a poco si fano in poluere e fano
^brutta evidetia.

'sAncora ti ricordo no facci solari soste-
nvti da archi l6 e travi, imperoche col tepo il
solaro, ch' e sostenvto dalle tra 1 ?vi, cala al-
quato in nel suo mezzo, e quella parte
18 del solaro, ch'e sostenuta dal arco, resta
nel suo loco, onde *9j solari che sono soste-
nvti da 2 varie nature di sosteta 20 culi paiono
col tepo fatti a colli.

remember, that the part built into the wall
should be steeped in hot pitch and filleted
with oak boards likewise so steeped. Each
beam must pass through its walls and be
secured beyond the walls with sufficient
, chaining, because in con-
sequence of earthquakes
the beams are often seen
to come out of the walls
and bring down the walls
and floors; whilst if they are chained they will
hold the walls strongly together and the
walls will hold the floors. Again I remind
you never to put plaster over timber.
Since by expansion and shrinking of
the timber produced by damp and dryness
such floors often crack, and once cracked
their divisions gradually produce dust and
an ugly effect. Again remember not to
lay a floor on beams supported on arches;
for, in time the floor which is made on
beams settles somewhat in the middle
while that part of the floor which rests on
the arches remains in its place; hence, floors
laid over two kinds of supports look, in
time, as if they were made in hills [19].

795. i. dela lungeza. 2. cheffia . . pivi . chele [10] 20. 3. magiori grosseze . . pocho. 4. richordoti. 5. chalda . . essa t's
wanting. 7. cho soffitiete chatene . . tremoti . . ussci. 8. Ichatenate. 9. terano . . e e mvri. 10. Anchora ti richordo
chettu. u. cressciere e disscressciere rheffa ilegname. 12. essecho . . isspesse . . detti soli e crep. 13. ti le . . apocho
apocho . . effano. 15. Anchora ti richordo no faci. 16. ettrav . . chol . . dale. 17. chola . . inel . . mezo [che elp] equle
parte. 18. sostenta . . archo . . locho. 19. propositione J solari chessone. 20. ch chili paiano ch'ol . . acholli. The word
propositione written on the margin near line 19 has apparently nothing to do with this text, but M. Ravaisson, in his edition of
MS. A. has been misled by it to take j solari (line 18) for the beginning of a new paragraph.

795. 19. M. RAVAISSON, in his edition of MS. A gives a very different rendering of this passage
translating it thus : Les planchers qui sont soutenus far deux differmtes natures de supports paraisseiit avec le
temps /aits en voute [a chollt\.

/<r>

Remarks on the style of Leonardo's architecture.

A few remarks may here be added on the style of Leonardo s archi-
tectural studies. However incomplete, however small in scale, they allow
us to establish a certain number of facts and probabilities, well worthy of
consideration.

When Leonardo began his studies the great name of Brunellesco was
still the inspiration of all Florence, and we cannot doubt that Leonardo
was open to it, since we Jind among his sketches the plan of the church of
Santo Spirito* and a lateral view of San Lorenzo (PL XCIV No. i), a plan
almost identical with the chapel Degii Angeli, only begun by him (PI. XCIV ,
No. $) "while among Leonardos designs for domes several clearly betray the
influence of Brunellesco s Cupola and the lantern of Santa Maria del Fiore*.

The beginning of the second period of modern Italian architecture falls
during the first twenty years of Leonardos life. However the new impetus
given by Leon Battista Alberti either was not generally understood by his
contemporaries, or those who appreciated it, had no opportunity of showing
that they did so. It was only when taken up by Bramante and deve-
loped by him to the highest rank of modern architecture that this new in-
fluence was generally felt. Now the peculiar feature of Leonardos sketches
is that, like the works of Bramante, they appear to be the development and
continuation of Alberti s.

See PI. XCIV, No. 2. Then only in course of erection after the designs of Brunellesco, though he IMS
already dead; finished in 1481.

2 A small sketch of the tower of the Palazzo della Signoria (MS. C. A. 309^) proves that he also studied
mediaeval monuments.

ON THE STYLE OF LEONARDO'S ARCHITECTURE. IOI

But a question here occurs which is difficult to answer. Did Leonardo,
till he quitted Florence, follow the direction given by the dominant school of
Brunellesco, which would then have given rise to his " First manner', or
had he, even before he left Florence, felt Albertis influence either through
his works (Palazzo Ruccellai, and the front of Santa Maria Novella) or
through personal intercourse? Or was it not till he went to Milan that
Albertis work began to impress him through Bramante, who probably had
known Alberti at Mantua about 1470 and who not only carried out Albertis
views and ideas, but, by his designs for St. Peter s at Rome, proved himself
the greatest of modern architects. When Leonardo went to Milan Bramante
had already been living there for many years. One of his earliest works in
Milan was the church of Santa Maria presso San Satiro, Via del Falcone*.

Now we find among Leonardos stiidies of Cupolas on Plates LXXXIV
and LXXXV and in PI. LXXX several sketches which seem to me to have
been suggested by Bramante s dome of this church.

The MSS. B and Ash. II contain the plans of S. Sepolcro, the pavilion
in the garden of the duke of Milan, and two churches, evidently inspired by
the church of San Lorenzo at Milan.

MS. B. contains besides two notes relating to Pavia, one of them a
design for the sacristy of the Cathedral at Pavia, which cannot be supposed
to be dated later than 1492, and it has probably some relation to Leonardos
call to Pavia June 21, I49O 2 . These and other considerations justify us in
concluding, that Leonardo made his studies of cupolas at Milan , probably
between the years 1487 and 1492 in anticipation of the erection of one of
the grandest churches of Italy, the Cathedral of Pavia. This may explain
the decidedly Lombardo-Bramantesque tendency in the style of these studies,
among which only a few remind us of the forms of the cupolas of S. Maria
del Fiore and of the Baptistery of Florence. Thus, although when compared
with Bramante s work, several of these sketches plainly reveal that masters
influence, we find, among the sketches of domes, some, which show already
Bramante s classic style, of which the Tempietto of San Pietro in Montorio,
his first building executed at Rome, is the foremost example 3 .

On Plate LXXXIV is a sketch of the plan of a similar circular
building; and the Mausoleum on PI. XCVIII> no less than one of the pedestals
for the statue of Francesco Sforza (PI. LXV), is of the same type.

1 Evidence of this I intend to give later on in a Life of Bramante, which I have in preparation.

2 The sketch of the plan of Brunellescrfs church of Santo Spirito at Florence, -which occurs in the same
Manuscript, may have been done from memory.

3 It may be mentioned here, that in 1494 Bramante made a similar design for the lantern of the Cupola of
the Church of Santa Maria delle Grazie.

102 ON THE STYLE OF LEONARDO'S ARCHITECTURE.

The drawings PL LXXXIV No. 2, PL LXXXVI No. i and 2 and
the ground flour of the building in the drawing PI. XCI No. 2, with the
interesting decoration by gigantic statues in large niches, are also, I believe,
more in the style Bramante adopted at Rome, than in the Lombard style.
Are we to conclude from this that Leonardo on his part influenced Bramante
in the sense of simplifying his style and rendering it more congenial to
antique art? The answer to this important question seems at flrst difficult
to give, for we are here in presence of Bramante, the greatest of
modern architects, and with Leonardo, the man comparable with no other.
We have no knowledge of any buildings erected by Leonardo, and unless we
admit personal intercourse which seems probable, but of which there is no
proof , it would be difficult to understand how Leonardo could have affected
Bramante s style. The converse is more easily to be admitted, since Bramante,
as we have proved elsewhere, drew and built simultaneously in different
manners , and though in Lombardy there is no building by him in his
classic style, the use of brick for building, in that part of Italy, may
easily account for it.

Bramante s name is incidentally mentioned in Leonardos manuscripts
in two passages (Nos. 1414 and 1448^). On each occasion it is only a
slight passing allusion, and the nature of the context gives us no due infor-
mation as to any close connection between the two artists.

It might be supposed, on the ground of Leonardos relations with the
East given in sections XVII and XXI of this volume, that some evidence
of oriental influence might be detected in his architectural drawings. I do
not however think that any such traces can be pointed out with certainty
unless perhaps the drawing for a Mausoleum, PI. XCVIII.

Among several studies for the construction of cupolas above a Greek
cross there are some in which the forms are decidedly monotonous. These,
it is clear, were not designed as models of taste; they must be regarded as
the results of certain investigations into the laws of proportion, harmony
and contrast.

The designs for churches , on the plan of a Latin cross are evidently
intended to depart as little as possible from the form of a Greek cross; and
they also show a preference for a nave surrounded with outer porticos.

The architectural forms preferred by Leonardo are pilasters coupled
(PL LXXXII No. i) or grouped (PL LXXX No. 5 and XCVI No. 4),
often combined with niches. We often meet with orders superposed, one in
each story, or two small orders on one story, in combination with o ne great
order (PI. XCVI No. 2).

ON THE STYLE OF LEONARDO'S ARCHITECTURE. 103

The drum (tamburo) of these cupolas is generally octagonal, as in the
cathedral of Florence, and with similar round windows in its sides. In
PL LXXXVII No. 2 it is circular like the model actually carried out
by Michael Angelo at St. Peters.

The cupola itself is either hidden under a pyramidal roof, as in the
Baptistery of Florence, San Lorenzo of Milan and most of the Lombard
churches (PL XCI No. i and PL XCII No. \) ; but it more generally suggests
the curve of Sta Maria del Fiore (PL LXXXVII I No. 5; PL XL No. 2;
PL LXXXIX, M; PL XL No. 4, PL XCVI No. 2). In other cases
(PL LXXX No. 4; PL LXXXIX; PL XC No. 2) it shows the sides of the
octagon crowned by semicircular pediments, as in Brunellescds lantern of
the Cathedral and in the model for the Cathedral of Pavia.

Finally, in some sketches the cupola is either semicircular, or as in
PL LXXXVII No. 2, shows the beautiful line, adopted sixty years later
by Michael Angelo for the existing dome of St. Peter s.

It is worth noticing that for all these domes Leonardo is not satisfied
to decorate the exterior merely with ascending ribs or mouldings, but employs
also a system of horizontal parallels to complete the architectural system. Not
the least interesting are the designs for the tiburio (cupola) of the Milan
Cathedral. They show some of the forms, just mentioned, adapted to the
peculiar gothic style of that monument.

The few examples of interiors of churches recall the style employed in
Lombardy by Bramante, for instance in S. Maria di Canepanuova at
Pavia, or by Dolcebuono in the Monastero Maggiore at Milan (see PL CI
No. i /C. A. i8i b ; 546^ PL LXXXIV No. iqj.

The few indications concerning palaces seem to prove that Leonardo
followed Albert? s example of decorating the walls with pilasters and a flat
rustica, either in stone or by graffitti (PL CII No. i and PL LXXXV
No. i 4 ;.

By pointing out the analogies between Leonardos architecture and that
of other masters we in no way pretend to depreciate his individual and
original inventive power. These are at all events beyond dispute. The
project for the Mausoleum (PL XCVI II) would alone suffice to rank him
among the greatest architects who ever lived. The peculiar shape of the
tower (PL LXXX), of the churches for preaching (PL XCVII No. i and
pages 56 and 57, Fig. i 4), his curious plan for a city with high and low
level streets (PL LXXVII and LX XVIII No. 2 and No. 3 ;, his Loggia
with fountains (PL LXXX I I No. 4) reveal an originality, a power and fa-
cility of invention for almost any given problem, which are quite wonderful.

104

ON THE STYLE OF LEONARDO'S ARCHITECTURE.

In addition to all these qualities he propably stood alone in his day in
one department of architectural study, his investigations, namely, as to the
resistance of vaults, foundations, walls and arches.

As an application of these studies the plan of a semicircular vault
(PL CHI No. 2) may be mentioned here, disposed so as to produce no thrust
on tht columns on which it rests: volta I botte e non ispignie Tfori le colone.
Above the geometrical patterns on the same sheet, close to a circle inscribed
in a square is the note: la ragio d'una volta cioe il terzo del diamitro
della sua . . . del tedesco in domo.

There are few data by which to judge of Leonardos style in the
treatment of detail. On PI. LXXXV No. 10 and PL CIII No. 3, we find
some details of pillars', on PL CI No. 3 slender pillars designed for a fountain
and on PL CIII No. i MS. B, is a pen and ink drawing of a vase which
also seems intended for a fountain. Three handles seem to have been
intended to connect the upper parts with the base. There can be no doubt
that Leonardo, like Bramante, but unlike Michael Angel o, brought infinite
delicacy of motive and execution to bear on the details of his work.

XIV.

Anatomy, Zoology and Physiology.

Leonardo's eminent place in the history of medicine, as a pioneer in the sciences of
Anatomy and Physiology, will never be appreciated till it is possible to publish the mass
of manuscripts in which he largely treated of these two branches of learning. In the
present work I must necessarily limit myself to giving the reader a general view of
these labours, by publishing his introductory notes to the various books on anatomical
subjects. I have added some extracts, and suck observations as are scattered incidentally
through these treatises , as serving to throw a light on Leonardo's scientific attitude,
besides having an interest for a wider circle than that of specialists only.

VASARI expressly mentions Leonardo's anatomical studies, having had occasion to
examine the manuscript books which refer to them. According to him Leonardo studied
Anatomy in the companionship of Marc Antonio della Torre "aiutato e scambievolmente
aiutando." This learned Anatomist taught the science in the universities first of Padua
and then of Pavia , and at Pavia he and Leonardo may have worked and studied
together. We have no clue to any exact dates, but in the year 1506 Marc Antonio
della Torre seems to have not yet left Padua. He was scarcely thirty years old when
he died in 1512, and his writings on anatomy have not only never been published, but
no manuscript copy of them is known to exist.

This is not the place to enlarge on the connection between Leonardo and Marc An-
tomo della Torre. I may however observe that I have not been able to discover in
Leonardo's manuscripts on anatomy any mention of his younger contemporary. The few
quotations which occur from writers on medicine either of antiquity or of the middle
ages are printed in Section XXII. Here and there in the manuscripts mention is
made of an anonymous "adversary' 1 ' 1 (avversario) whose views are opposed and refuted
by Leonardo, but there is no ground for supposing that Marc Antonio della Torre
should have been this "adversary".

Only a very small selection from the mass of anatomical drawings left by Leonardo
have been published here in facsimile, but to form any adequate idea of their scientific

VOL. 11. O

ANATOMY, ZOOLOGY, PHYSIOLOGY.

should be chared * * -n * *-** A""-" **"* '" *

time of George III. of seeing the originals in the King's L,brary has

suc " desins

/ * useul ,o a pa.nter in his own profession. But I saw, W t
astonishment, that Leonardo had been a general and deep student. When I cons,der
^a, pains ,:< >u,s taken upon every part of tke My, the superiorly of ,ns u,:,v^
genius his particular excellence in mechanics an,t hydrauhcs, and the attend ,.v/A
ihichsuch a man would ermine and see oojects vhich he ><as to draw am JuUy
persuaded that Leonardo was the best Anatomist, at that time, m the world . Leo-
nardo was certainly the firs, man, * know of, who introduced the P rac,,ce of makmg
anatomical drawings" (Two introductory letters. London 1784, pages 37 < &

The illustrious German Naturalist Johan Friedrich Blumenbach esteemed the:,.
no less highly ; he was one of tke privileged few who, after Hunter, had the chance
of seeing these Manuscripts. He writes: Der Scharfblick dieses grosser, Forschers
und Darstellers der Natur hat schon auf Dinge geachtet, die noch Jahrhunderte nachher
unbemerkt geblieben sind" (sec Blumenbach's medicinische Bibhothek,

1795 ' These ^nions were founded on the dr^nngs alone. Up to the present day hardly
anything has hen made known of the text, and, for the reasons I have gn-en, ,t ,s ,,
intention to reproduce here no more than a selection of extracts which 1 have mad. fro,,,
the originals at Windsor Castle ami elsewhere. In the Bibliography of the Manuscript, at
the end of this volume a short review is given of the valuable contents of these Ana-
tomical note books which are at present almost all in the possession of her Majesty the
Oueen of England. It is, I believe, possible to assign the date with approbate accu-
racy to almost all the fragments, and I am thus led to conclude that the greater part of
Leonardo's anato,nical investigations were carried out after the death of dclla Torre

Merely in reading the introductory notes to his various books on Anatomy whuh are
here printed it is impossible to resist the impression that the Master's anatomtcal studies
bear to a very great extent the stamp of originality and independent thought.

ANATOMY.

W. An. IV. 167 a]

796.

Voglio far miraculi; 2 abbi me cheli altri
o 3 mini piu quieti , e 4 quelli che vogliono
arSricchirsi in u dl ; vivi 6 nel lungo tepo in
?gra poverta, co 8 me interviene e ^interverra
in etter I0 no alii alchimisti, "cercatori di
cre I2 are oro e argeto, I3 e all' Igegnieri che
^vogliono che I'a'Scqua morta dia l6 vita
motiua *?a se medesima l8 con cotinuo J 9mo-
to, 20 e al somo sto! 2I to negromante 22 e
Icantatore.

23 E tu che dici, esser me 24 glio il uedere
fare 25 l'anatomia, che uede 26 re tali disegni,
dire 2 ?sti bene, se fusse 28 possibile vedere
tu^tte queste cose che 3 in tal disegni si
di 3I mostrano in una 32 sola figura, nella
33 quale con tutto il tu 34 o ingenio no ve-
dra 35 i, e non avrai la no 36 titia, se no
d'alqua,37te poche vene, de! 38 le quali io,
per aver^ne vera e plena 4 notitia, 6
disfatti 4I piv di dieci co 42 rpi vmani, 43 di-

I wish to work miracles; 'it may be A general
that I shall possess less than other men o f introduction
more peaceful lives, or than those who want
to grow rich in a day. I may live for a
long time in great poverty, as always hap-
pens, and to all eternity will happen, to al-
chemists, the would-be creators of gold and
silver, and to engineers who would have
dead water stir itself into life and perpetual
motion, and to those supreme fools, the ne-
cromancer and the enchanter.

[23] And you, who say that it would be
better to watch an anatomist at work than
to see these drawings, you would be right,
if it were possible to observe all the things
which are demonstrated in such drawings in
a single figure, in which you, with all your
cleverness, will not see nor obtain knowledge
of more than some few veins, to obtain a true
and perfect knowledge of which I have dissec-
ted more than ten human bodies, destroying

796. 3. quieti ecq. 4. voliano a. 5. richire nudi. 6. lungho. 9. intervera. io. archimisti. 14. voglia. 15. cq"a" morta.
17. asse. 20. somo. 23. "e" ettu che di. 27. fussi. 31. mosstrano. 35. e non arai. 37. vene de. 43. destrugendo.

796. Lines I 59 and 60 89 are written in two
parallel columns. When we here find Leonardo
putting himself in the same category as the Alche-
mists and Necromancers, whom he elsewhere mocks
at so bitterly, it is evidently meant ironically. In
the same way Leonardo, in the introduction to the

Books on Perspective sets himself with transpa-
rent satire on a level with other writers on the
subject.

Line 23 and the following seem to be directed
against students of painting and young artists rather
than against medical men and anatomists.

io8

ANATOMY.

[797-

struggendo ogni "altri mebri, consumando
con minutis 6 sime particule ?tutta la carne
chc 8 d'intorno a esse 9vene si trovaua,
s-sanza insanguis'narle, se non d'i 2 sen-
sibile insanSJguinameto delle vene capillari;
s e vn sol corpo no ssbastava a tanto
tepo, che bisoS 6 gnava procedere di mano
in mano 7 in tanti corpi, che si finisca la
inte^ra cognitione; le qual repli *cai 2
volte per vedere le diflerentie.

60 E se tu avrai 1'amore a tal cosa,
01 tu sarai forse inpedito dallo 6a stomaco,
e se questo no ti inpedi 63 sce, tu sarai iorse
inpedito dal 6 *la paura coll' abitare nelli te-
6 5pi notturni in copagnia di tali 66 * :

66 morti

squadrati e scorticati e 6 ?spaventevoli a
vederli; e se que b8 sto no t'Ipedisce, forse
ti mache^rk il disegnio bono, il quale
s'appa7rtiene a tal figuratione; E 7'se tu
avrai il disegnio e' no sara ? 2 accopagnato
dalla prospettiva, ^ e se sara accopagnato
7e'ti machera 1'ordine 75 delle dimostratio
7 6 geometriche e 1'ordine 77 delle calculation
delle 7*fbrze e valimeto de' 79muscoli; e
forse ti 8o machera la patietia che 8l tu no
sarai diligete; Delle 82 quali se in me tutte
queste 8 ->cose sono state o no, 84 i ceto
20 libri da me 8 5conposti ne dara sente-
86 tia del si o del no, nelli 8 ?quali no sono
stato inpedi 88 to ne d'auaritia o negligetia,
8 9ma sol dal tenpo vale.

all the other members, and removing the very
minutest particles of the flesh by which these
veins are surrounded, without causing them to
bleed, excepting the insensible bleeding of
the capillary veins; and as one single body
would not last so long, since it was neces-
sary to proceed with several bodies by
degrees, until I came to an end and had a
complete knowledge; this I repeated twice, to
learn the differences [59].

And if you should have a love for such
things you might be prevented by loathing, and
if that did not prevent you, you might be de-
terred by the fear of living in the night hours in
the company of those corpses, quartered and
flayed and horrible to see. And if this did not
prevent you, perhaps you might not be able to
draw so well as is necessary for such a demon-
stration ; or, if you had the skill in drawing, it
might not be combined with knowledge of per-
spective; and if it were so, you might not under-
stand the methods of geometrical demonstration
and the method of the calculation of forces
and of the strength of the muscles; patience
also may be wanting, so that you lack per-
severance As to whether all these things
were found in me or not [84], the hundred
and twenty books composed by me will give
verdict Yes or No. In these I have been hin-
dered neither by avarice nor negligence, but
simply by want of time. Farewell [89].

W. A. II. 3(>a (21)]

DELL'ORDINE DEL LIBRO.

797-

2 Questa opera si deve pricipiare alia
and cocietticne- deH'omo ., e devi descrivere il
* u F*r"the n * m d della matrice, 3 e come il putto-1'a-
, e in che grado lui risegga- T quella-,

OF THE ORDER OF THE BOOK.

This work must begin with the concep-
tion of man, and describe the nature of the
womb and how the foetus lives in it, up to
what stage it resides there, and in what way

ormeiau' , ,

(797-802). e '1 modo dello vivificarsi e cibarsi, 4 e '1 it quickens into life and feeds. Also its
suo accrescimeto , e che interuallo sia growth and what interval there is between

44. consi. 45. niinuti. 46. partichule. 53. capillar "e"(?). 54. e [altrettate] e vn. 55. attanto tepo chc. 56. imano.
57. corpi che si nnisMmi la inte. 58. cognitione le qual [s] ripri. 59. cai [i] ''2" volte . . diferentie. 60. essettu arai.
66. squartati. 68. notipedisce. 69. qual sapa. 70. attal. 71. settu arai. 72. acopagnato. 73. esse . . acopagnato. 76. geo-
metrice. 79. efforse. 82. scimc. 83. onno [lili]. 84. icceto 20. 86. tia [di] del. 88. negli etia. 89. d 1 [dalla ve] tenpo.
797. 2. debe. 2. e disscrivere. 3. chome il pucto . . risega . . uiuicharsi. 4. acresscimelo . . da i grado da cresscimcto . a . 1 .

84. Leonardo frequently, and perhaps habitually,
wrote in note books of a very small size and only
moderately thick; in most of those which have
been preserved undivided, each contains less than
fifty leaves. Thus a considerable number of such
volumes must have gone to make up a volume of the
bulk of the * Codex Atlanticuf which now contains
nearly 1200 detached leaves. In the passage under
consideration, which was evidently written at a late

period of his life, Leonardo speaks of his Manu-
script note-books as numbering 120; but we should
hardly be justified in concluding from this passage
that the greater part of his Manuscripts were now
missing (see Prolegomena, Vol. I, pp. 5 7).

797. The meaning of the word nervo varies in
different passages, being sometimes used for muscolo
(muscle).

797-]

ANATOMY.

da uno grado d' accrescimeto a uno
altro, e che cosa lo spigna fori sdel corpo

della madre , e per che cagione qualche
uolta lui uega fori dal uetro di sua madre
inati al debito 6 tepo.

? Poi discriuerai quali mebrasieno quelle

che crescono poi che' 1 putto e nato piv
che 1'altre, 8 e da la misura d'u putto d'un
anno.

9 Poi discrivi I'omo crescivto e la femina-
e sue misure e nature di complessione
colore I0 e fisonomie.

11 Di poi descrivi com'egli e coposto
di uene , nerui , muscoli e ossa; Questo
farai nell' ultimo del libro; lz di poi figura
in 4 storie quattro vniversali casi delli
omini, cioe letitia con uari atti di ridere,
figura la cagio del riso ; piato in
var modi colla sua cagione ; cotetione
co uari movi^meti d' uccisione , fughe ,
pavre , ferocita , ardimeti , micidi e tutte
cose apparteneti a simil casi; I5 di poi
figura vna fatica co tirare, spiegniere

portare, fermare, sostenere e simili
16 cose;

T ?Di poi discriui attitudine e movimeto;

18 di poi prospettiva per 1'ofitio e effetti
dell'ochioe dell' udito, dirai di mvsicha e
descrivi delli altri sesi.

J 9Di poi discrivi la natura de' sensi.

20 Questa figura strumetale dell'omo di-
mostreremo in . . figure, delle 2I quali le 3
prime saranno la ramificatione delle ossa,
cioe vna dinazi che "dimostri 1'altitudine
de' siti e figure delli ossi, la seconda sara
veduta in 2 3proffilo e mostrera la profondi-
ta del tutto e delle parti e loro sito; La 3 a
2 figura fia dimostratrice delle ossa dalla
parte dirieto; Di poi faremo ^3 altre
figure ne' simili aspetti colle ossa segate,
nelle quali si vedranno le lor 26 grossezze e
uacuita; 3 altre figure faremo dell' ossa in-
tere e de' nerui che na 2 ?scono dalla nuca,
e in che mebra ramificano; E 3 altre
de'ossa e vene e do 28 ve ramificano, poi 3
con muscoli e 3 con pelle, e figure propor-
tionate, e 3 della femina per dimostrare
matrice e vene mestruali, 3 c he vanno alle
poppe.

one. stage of growth and another. What it
is that forces it out from the body of the
mother,, and for what reasons it sometimes
comes out of the mother's womb before the
due time.

Then I will describe which are the mem-
bers, which, after the boy is born, grow more
than the others, and determine the propor-
tions of a boy of one year.

Then describe the fully grown man and
woman, with their proportions, and the nature
oftheir complexions, colour, and physiognomy.

Then how they are composed of veins,
tendons, muscles and bones. This I shall do
at the end of the book. Then, in four draw-
ings, represent four universal conditions of
men. That is, Mirth, with various acts of
laughter, and describe the cause of laughter.
Weeping in various aspects with its causes.
Contention, with various acts of killing;
flight, fear, ferocity, boldness, murder and
every thing pertaining to such cases. Then
represent Labour, with pulling, thrusting, carry-
ing, stopping, supporting and such like things.

Further I would describe attitudes and
movements. Then perspective, concerning
the functions and effects of the eye ; and of
hearing here I will speak of music ,
and treat of the other senses.

And then describe the nature of the senses.

This mechanism of man we will demon-
strate in ... figures; of which the three
first will show the ramification of the bones;
that is: first one to show their height and
position and shape : the second will be seen
in profile and will show the depth of the
whole and of the parts, and their position.
The third figure will be a demonstration of
the bones of the backparts. Then I will
make three other figures from the same point
of view, with the bones sawn across, in which
will be shown their thickness and hollow-
ness. Three other figures of the bones com-
plete, and of the nerves which rise from the
nape of the neck, and in what limbs they ra-
mify. And three others of the bones and
veins, and where they ramify. Then three
figures with the muscles and three with the
skin, and their proper proportions ; and three
of woman, to illustrate the womb and the
menstrual veins which go to the breasts.

altro . . chosu . . spiga. 5. chorpo . . chagione . . uega ..del. 7. cresscano enato. 9. ella . . essue . . choprlessione chollore
effisosbmie. n. desscrivi chom eli e choposto . . musscoli. 12. chasi . . chouari. 13. effigura la chagio . de riso . . cholla
. . chagione . chotetione cho. 14. ucisione . fuge . . ettutte chose aparteneti assimil chasi. 15. faticha cho . . sosstenere
essimili. 16. chose. 18. lofitio effetti . . della uldito . . musicha . . sesi. 19. de . 2 . "sensi" sensi. 20. dimosterreno.
22. effigure . . sechonda. 23. mossterra. 24. delle [ner] ossa . . faren. 20. asspetti . . segate . . uetra le. 26. gosseze e
uachuita . . fareno. 27. sea della nucha . . ramifichino. 28. ramifichino . . mvsscoli . . effigure. 29. tionati . . me-
struale.

ANATOMY.

[798.

W. An. IV.

79 8.

ORDINE DEL LIBRO.

THE ORDER OF THK BOOK.

1 Questa mia figuratione del corpo vmano
ti sara climostra no altre'menti, die se
tu auessi 1'omo naturale inati, e la rago si
e, che se tu vuoi be'ne conoscere le parti
delFomo anatomizzato, tu lo vuoi o I'o-
chio tuo per di s versi aspetti, quello coside-
rando di sotto, e di sopra, e dalli lati, vol-
taiuiolo e cercando 1'origine di ciascu
mcbro, e I tal modo la notomia na?turale
a soddisfatta alia tua notitia; Ma tu ai a
intedere, che tal noti"tia no ti lascia sad-
disfatto, cociosiache la gradissima confusione
che 'resulta della mistione di paniculi misti
co uene, arterie, nerui, corde, "'muscoli,
ossi, sangue, il quale tignie di se ogni parte
d'un medesimo colo^re, e le vene, che di tal
sangue si votano non sono conosciute per la
lordimi I2 nutione, ela integrita delli pannicoli,
nel cercare le parti che dentro a '^loro
s'includono, si viene a rompere, e la lor
trasparetia, tinta di sangue, ^no ti lascia
conoscere le parti coperte da loro per la
similitu' 5 dine del lor colore insanguinato, e
no puoi avere la notitia dell'u che tu l6 no
cofonda e distrugga 1' altro ; adunque e
necessario fare piu notomie, '^delle quali 3
te ne bisognia per auere piena notitia delle
vene e arterie, l8 distruggedo con soma
diligentia tutto il rimanete, e altre 3 per
auere la notitia '9 delli pannicoli, e 3 per
le corde e muscoli e legameti, e 3 per
li ossi e car 20 tilagini , e 3 per la notomia
delle ossa, le quali s' anno a segare e dimo-
"strare, quale d buso e quale no, quale e
midolloso, quale 6 spugno 22 so, e quale
grosso dal fori al dentro, e quale e sottile,
e alcuno a in al^cuna parte gra sottiglezza,
e in alcuna e grosso, e in alcuna busa, o

This depicting of mine of the human
body will be as clear to you as if you had
the natural man before you; and the reason
is that if you wish thoroughly to know the
parts of man, anatomically, you or your
eye require to see it from different aspects,
considering it from below and from above
and from its sides, turning it about and
seeking the origin of each member; and in
this way the natural anatomy is sufficient
for your comprehension. But you must
understand that this amount of knowledge
will not continue to satisfy you; seeing the
very great confusion that must result from
the combination of tissues, with veins, ar-
teries, nerves, sinews, muscles, bones, and
blood which, of itself, tinges every part the
same colour. And the veins, which dis-
charge this blood, are not discerned by rea-
son of their smallness. Moreover integrity
of the tissues, in the process of the inves-
tigating the parts within them , is inevitably
destroyed, and their transparent substance being
tinged with blood does not allow you to
recognise the parts covered by them, from the
similarity of their blood-stained hue; and
you cannot know everything of the one with-
out confusing and destroying the other.
Hence, some further anatomy drawings be-
come necessary. Of which you want three
to give full knowledge of the veins and ar-
teries, everything else being destroyed with
the greatest care. And three others to dis-
play the tissues; and three for the sinews
and muscles and ligaments; and three for
the bones and cartilages; and three for the
anatomy of the bones, which have to be
sawn to show which are hollow and which
are not, which have marrow .and which are
spongy, and which are thick from the out-
side inwards, and which are thin. And some
are extremely thin in some parts and thick
in others, and in some parts hollow or filled
up with bone, -or full of marrow, or spongy.
And all these conditions are sometimes found

798. 2. Quessta. 3. chessettu . . ella . . chessettu. 4. conosscere le parte . . natomizate tu lo voli ollui ollochio. 5. asspetto. 6. ec-
cerchando . . ciasscu. 7. turale ta sadidisfatto . . chettal. 8. lasscia . . cocosia chella . . chonfusione. 9. della . . pani-
chuli. 10. musscoli . . dumedesimo. n. elle . . cognosscute. 12. nuitione ella . . pannichuli nel cierchare le parte . . al.
ij. sincludano . si uegano . . ella . . trassparetia. 14. lasscia cognossciere le parte [che son sotto a] coperte dalloro per
almilitu. 15. poi . . chettu. 16. desstruggha . . natomie. 18. desstrugedo . . soma. 19. pannichuli . . musscoli ellegameti
ejej. 20. e [ij 3 per la natomia . . assegare e dimos. 21. quale he spugn"a". 22. ecqua le he . . essottile . . innnl.
23. chuna . . sotu'glicza . alchuna . . alchuna. 24. osspugnosa e chosi . . sarano. 25. numedesimo. 26. essuo. 28- as-

110

PL. C VII.

79 8.]

ANATOMY.

I I I

piena 24 d'osso, o midollosa, o spugnosa; e
cosl tutte queste cose sarano alcuna volta
tro 25 vate in un medesimo osso, e alcuno
osso fia che non a nessuna ; e 3 te ne bisog-
26 na fare per la donna, nella quale e gra mis-
terio, mediante la matrice e suo feto; 2 ?a-
dunque per il mio disegnio ti fia noto ogni
parte e ogni tutto mediante la di 28 mostratione
di 3 diuersi aspetti di ciascuna parte, perche
quando tu avrai vedu 2 9to alcun mebro dalla
parte dinanzi con qualche neruo, corda, o
vena che 3 nasca dalla opposita parte, ti fia
dimostro il medesimo mebro volto per lato
3 z o dirieto-; non altremeti che se tu auessi
in mano il medesimo mebro e andas3 2 si lo
voltado di parte in parte insino a tanto
che tu auessi piena notitia di que! 3 3lo che
tu desideri sapere, e cosl similmete ti fia
posto inariti in tre o 344 dimostrationi di
ciascu mebro per diuersi aspetti in modo che
tu resterai con^vera e piena notitia di quello
che tu vuoi sapere della figura dell'omo.

3 6 Adunque qui con 12 figure intere ti
sara mostrata la cosmografia del minor
37 modo col medesimo ordine che inazi a
me fu fatto da Tolomeo nella sua cosmo-
3 8 grafia, e cosl diuidero poi quelle in
mebra, come lui diuise il tutto in provin-
cie; 39 e ,'poi diro 1'ufitio delle parti per
ciascu verso, mettedoti dinati alii ochi la
notitia 4 di tutta la figura e valitudine del-
l'omo inquato a moto locale mediante le
sue parti, 4I E cosl piacesse al nostro autore
che io potessi dimostrere la natura delli
omini e Io 42 ro costumi nel modo che io
descrivo la sua figura.

43 E ricordoti che la notomia delli ner-
ui non ti dara la situatione della loro rami-
44 ficatione, ne in quali muscoli essi si rami-
ficano mediante li corpi disfatti . in acqua
45 correte, o in acqua di calcina, perche,
ancorache ti rimaga la origine de'lor nas-
scimenti 46 sanza tale acqua come coll' ac-
qua, le ramificationi loro pel corso del-
1'acqua si 4 ?vengono a vnire, non altremeti
che si fascia il lino o canapa pettinata per
filare, 48 tutto in vn fascio in modo che in-
possibile e a ritrovare in quali muscoli o
co quale 4 9 o co quate ramificationi li nerui
s'infondino ne' predetti muscoli.

in one and the same bone, and in some
bones none of them. And three you must
have for the woman, in which there is
much that is mysterious by reason of the
womb and the foetus. Therefore by my
drawings every part will be known to you,
and all by means of demonstrations from
three different points of view of each part;
for when you have seen a limb from the
front, with any muscles, sinews, or veins
which take their rise from the opposite side,
the same limb will be shown to you in a
side view or from behind, exactly as if you
had that same limb in your hand and were
turning it from side to side until you
had acquired a full comprehension of all
you wished to know. In the same way there
will be put before you three or four demon-
strations of each limb, from various points
of view, so that you will be left with a true
and complete knowledge of all you wish to
learn of the human figure [3 5].

Thus, in twelve entire figures, you will
have set before you the cosmography of this
lesser world on the same plan as, before
me, was adopted by Ptolemy in his cosmo-
graphy ; and so I will afterwards divide them
into limbs as he divided the whole world
into provinces; then I will speak of the func-
tion of each part in every direction, putting
before your eyes a description of the whole
form and substance of man, as regards his
movements from place to place, by means
of his different parts. And thus, if it
please our great Author, I may demonstrate
the nature of men, and their customs in the
way I describe his figure.

And remember that the anatomy of the
nerves will not give the position of their
ramifications, nor show you which muscles
they branch into, by means of bodies dis-
sected in running water or in lime water;
though indeed their origin and starting point
may be seen without such water as well as
with it. But their ramifications, when under
running water, cling and unite just like flat
or hemp carded for spinning all into a skein,
in a way which makes it impossible to trace
in which muscles or by what ramification the
nerves are distributed among those muscles.

spetti . . quanto . . arai. 30. parte [tuj eti . . per lalo. 31. chessettu . . imano. 32. attanto chettu. 33. Ho chettu . .
possto. 34. asspetti . . chettu. 35. chettu voi. 36. mosstro la cossmografia. 37. fuffatto dattolomeo . . cossmo. 38. imebra
. . province. 39. ciasscu.- 40. lochale . . parte. 41. Eccosi piacessi . . altore . . dimosstrare. 42. cosstumi . . desscrivo.
43. cholla dilora. 44. facione . . musscoli . . ramifichino. 45. corete o in acq"a" . . rimagha. 46. tale acq"a" . .
ramificatione. 47. vengono chessi facci . . chanapa. 48. fasscio. 49. ramificatione . . mvsscoli.

798. 35. Compare PI. CVII. The original drawing at Windsor is 281/2 X ^9 I /z centimetres. The
upper figures are slightly washed with Indian ink. On the back of this drawing is the text No. 1140.

ANATOMY.

[799-802.

112

799-

ORDINE DI NOTOMIA.

Fa prima Fossa come dire le braccia,
e poni il motore dalla spalla al 'gomito per
tuttelelime;Dipoidal g omitoalbracc,o;

Di poi dal 'braccio alia mano e dalla mar

alii diti. . , ,

sE nel braccio norrai h moton

ado a crado per non
nnmo po?ni sopra dell'
che con essi ossa
SSLTalSa confusione
e co^quelli porrai li
che li nutriscono, auendo _
bero delle ue"ne e neru,
plici ossa.

confondere.

ossa quell, mu-

si congiungono,
d'altri muscol,,
neru, e uene,

pnma fat to 1 al-
sopra delle sen-

THE ARRANGEMENT OF ANATOMY.

First draw the bones, let us say, of the
arm and put in the motor muscle from the
shoulder to the elbow with all its lines.
Then proceed in the same way from the
elbow to the wrist. Then from the wrist to
the hand and from the hand to the fingers.

And in the arm you will put the motors
of the fingers which open, and these you
will show separately in their demonstration.
In the second demonstration you will clothe
these muscles with the secondary motors c
the fingers and so proceed by degrees to
avoid confusion. But first lay on the bones
those muscles which lie close to the said
bones, without confusion of other muscle
and with these you may put the nerves and
veins which supply their nourishment, aftt
having first drawn the tree of veins and
nerves over the simple bones.

W. An. IV, XXI]

800.

Cormcia la notomia alia testa e finis-
cila nella piata del piede.

Begin the anatomy at the head and finish
at the sole of the foot.

W. An. II. 39* ()1

80 1.

of entire figures '

W. An. IV. 151 a]

802.

s superficial,.

gunghano. 10. musscoli. n. chelli notrissc

800. cffiniscila.

801. i. homini. 2. chon. 3. ssenplici. 6. tiere.

8oa. 2. cress

ciere . . ettu. 3- lasstatua . cho.

8oa. Crescifre V omo. The meaning of this ex-
pression appears to be different here and in the
passage C. A. i$7 a , 468- (see No. 526, Note I. 2).
Here it can hardly mean anything else than
modelling, since the sculptor forms the figure by
degrees, by adding wet clay and the figure conse-
quently increases or grows. Tu farai la statua would

then mean, you must work out the figure in marble.
If this interpretation is the correct one, this pas
sage would have no right to find a place m tl
series on anatomical studies. I may say that
was originally inserted in this connection unde
the impression that di crescitrc should be ,
scrivere.

803. 804.]

ANATOMY.

W. An. Ill, XXII]

803.

Farai tutti li moti dell' ossa 2 colle
giunture loro dopo M a dimostratione delle
pri 4 me tre figure dell' ossa, e s questo si deve
fare nel prime 6 libro.

You must show all the' motions of the Plans for
bones with their joints to follow the demon- ^J^ 6 "
stration of the first three figures of the bones, m d ^?* b j
and this should be done in the first book. (803-809).

W. XXIII]

804.

Ricordoti che per farti certo del nas-
cimento di qualunche muscolo, che tu tiri
2 la corda, partorita da esso muscolo, in
modo che tu veda movere esso 3 muscolo
e '1 suo nascimeto sopra delle legature
delli ossi.

NOTANDO.

sTu non farai mai se no confusione
nella di 6 mostratione de' muscoli e lor siti,
nascimeti ?e fini, se prima non fai vna
dimostratione di 8 muscoli- sottili a uso di
fila di refe, e cosl potrai 9figurare Pun-
sopra dell' altro, come li a situati la I0 na-
tura, e cosl li potrai nominare secodo il
mebro "al quale lor seruono, cioe il motore
della pu I2 ta del dito grosso e del suo osso
di mezzo o del primo ecc; T 3e dato che
tu ai tale notitia, figurerai al lato a ^questa
la uera forma e quatita e sito di ciascu
muscolo; 'Sma ricordati di fare li fili, che
insegniano li muscoli, neg l6 li medesimi siti
che son le linie centrali di ciascu musscolo,
e "cosl tali fili dimostreranno la figura del-
la ganba l8 e la loro distantia spedita e nota.
'9 Ho spogliato di pelle vno il quale per
una mala 20 ttia s'era tanto diminuito che li
muscoli era 2I consumati e restati a uso di
pellicola sottile, 22 in modo che le corde
in scabio del conuertirsi 2 3in muscolo si
convertivano in larga pelle, 24 e quado 1' ossa
era uestite di pelle, poco acqui 25 staua
della lor naturale grossezza.

Remember that to be certain of the point
of origin of any muscle, you must pull the
sinew from which the muscle springs in such
a way as to see that muscle move, and
where it is attached to the ligaments of the
bones.

NOTE.

You will never get any thing but con-
fusion in demonstrating the muscles and their
positions, origin, and termination, unless you
first make a demonstration of thin muscles
after the manner of linen threads; and thus
you can represent them, one over another
as nature has placed them; and thus, too,
you can name them according to the limb
they serve; for instance the motor of the
point of the great toe, of its middle
bone, of its first bone, &c. And when
you have the knowledge you will draw, by
the side of this, the true form and size and
position of each muscle. But remember to
give the threads which explain the situation
of the muscles in the position which corre-
sponds to the central line of each muscle;
and so these threads will demonstrate the
form of the leg and their distance in a plain
and clear manner.

I have removed the skin from a man
who was so shrunk by illness that the
muscles were worn down and remained in
a state like thin membrane, in such a way
that the sinews instead of merging in mus-
cles ended in wide membrane; and where
the bones were covered by the skin they
had very little over their natural size.

803. 2. guhture. 3. dimosstratione. 4. ecq. 5. defare.

804. i. nasscimeto . . chettu. 2. corta. 3. musscolo .. nasscimeto. 6. mosstratione . . musscoli ellor . . nassci.neti. 7. effini . .
dimosstratione. 8. musscoli. 10. mebr. n. seruano coe . . motore [delluli], 12. mezo. 13. chettu. 14. cquessta . . essito . .
mussolo. 15. musscoli ne. 16. le medesimi . . chesson . . ciasscu. 17. dimostera. 18. ella . . disstantia . . e note. 19. hos-
spogliato. 20. chelli musscoli. 21. cresstati. 22. chelle corde niscabio. 23. musscolo . . largha. 24. pocho. 25. grosseza.

804. The photograph No. 41 of Grosvenor
Gallery Publications : a drawing of the muscles
VOL. u.

of the foot, includes a complete facsimile of the
text of this passage.

114

ANATOMY.

[805808.

W. An. I. if[

Quale nervo e cagione del moto del-
1'ochio a lare-che '1 moto dell'un ochio
tin Paltro.

2 1Del chiudere le ciglia, 'dello alzare
leciglia, * dello abbassare le ciglia.li 5 1 dello
chiudere li ochi, 6 dello aprire li ochi,1i
71 dello alzare le narici, "del aprire le labra
co deti-serrati, sdello-apputare- le labra,
I0 del ridere, "del maravigliarsi.

"A discriuere il principio deH'omo quado
elli si cavsa-nella matrice, '^e perche uno
putto no uive-d'otto-mesi; '<che cosa e
starnvto, 'Sche cosa e sbadiglio, I6 mal-
maestro, '^spasimo, l8 paralitico, ^tremito
di freddo, 20 sudore, 2I stachezza, "fame,
2 Jsonno, ^sete, 2 Mussuria.

26 1 Del neruo-ch'e cagione del moto
della spalla al gomito, 27 del moto che e dal
gon.ito alia mano, 2t) dalla givntura della
mano-al nascimeto de'diti, 2 <>dal nascimeto
de'diti-al loro-rnezzo Je dal mezzo all'ul-
timo nodo.li

^ 'Del neruo che e cagione del moto della
coscia, 3'e dul ginochio al pie, e dalla givn-
tura del pie ai diti ^e cosl ai lor mezzi,
3e del girare d'essa ganba.

805.

Which nerve causes the motion -of the
eye so that the motion of one eye moves
the other?

Of frowning the brows, of raising the
brows, of lowering the brows, of closing the
eyes, of opening the eyes, of raising the
nostrils, of opening the lips, with the teeth
shut, of pouring with the lips, of smiling,
of astonishment.

Describe the beginning of man when it
is caused in the womb and why an eight
months child does not live. What sneezing
is. What yawning is. Falling sickness, spasms,
paralysis, shivering with cold, sweating, fa-
tigue, hunger, sleepiness, thirst, lust.

Of the nerve which is the cause of mo-
vement from the shoulder to the elbow, of
the movement from the elbow to the hand,
from the joint of the hand to the springing
of the fingers. From the springing of the
fingers to the middle joints, and from the
middle joints to the last.

Of the nerve which causes the movement
of the thigh, and from the knee to the foot,
and from the joint of the foot to the toes,
and then to the middle of the toes and of
the rotary motion of the leg.

806.

ANATOMIA.

2 Quali nerui over corde della mano so
3quelle che accostano e discostano li -diti
della mano e de'piedi 1'un dall'altro?

ANATOMY.

Which nerves or sinews of the hand are
those which close and part the fingers and
toes latteraly?

W. 238*)

807.

Scuopri a grado a grado tutte le parti
dinanti deH'omo 2 nel fare la tua notomia,
e cosl insino in sull'osso; ^descritione de'
mebra della vita e lor trauagliameti.

Remove by degrees all the parts of the
front of a man in making your dissection,
till you come to the bones. Description of
the p'arts of the bust and of their motions.

K.3 28 a]

808.

Fa la notomia della ga 2 ba insino al fiaco
per nutti i versi e per tutti li 'atti e in

Give the anatomy of the leg up to the
hip, in all views and in every action and in

805. i. chagione . . affare. j. anarise. 8. cho . . strati. 12. [facci] a desscrivere . . chausa. 13. 5 putto. 14. chosa esstarnuto.
15. chosa essbaviglio. 16. malmaesstro. 18. parletkho. 19. fredc. 21. stachcza. 26. chagione . . dalla. 28. nassimeto.
29. nassimeto . . raezo. 30. roezo. 31. chagione . . cosscia. 33. mezi.

806. i. anotamia. 3. quelle che achosstano e disscostano. 807. i. parte. 3. discretio de mebr . . vite ellor.
808. i 9 R. 2. fiucho. 7. He. 8. scghatc . . gro.

808. A straightened leg in profile is sketched by the side of this text.

8098 1

ANATOMY.

tutte le spoglie, 5 vene, arterie, nerui, 6 corde
e mvscoli, pe! 7 le e ossa, e poi dell'ossa
8 segate per uedere la gros 9 sezza dell'ossa.

every state; veins, arteries, nerves, sinews
and muscles, skin and bones ; then the bones
in sections to show the thickness of the bones.

w. A. n. 7 6 <*]

809.

Farai regola e misura di ciascun muscolo,
2 e renderai ragione di tutti li loro vfiti, e
in che moMo s'adoperano e che li mu-
ove ecc.

4 Farai prima la spina del dosso, di poi
va vestendo 5a gradi 1'un sopra dell'altro
di ciascu di questi musco 6 li, e poni li nervi
all' arterie e vene a ciascun 7 muscolo per
se, e oltre a di questo nota a qua 8 ti spon-
dili si congiugono, e che intestini sono 9 loro
a riscotro e che ossi e altri strumeti orga-
I0 nici ecc.

JI Le parti piu alte de'magri son piu alte
nelli mu I2 scolosi, e similmete ne'grassi; Ma
la differetia, che e ^dalla figura de'muscoli
che anno li grossi a rispetto I4 delli musco-
losi, sara qui di sotto descritta.

Make the rule and give the measurement
of each muscle, and give the reasons of all
their functions, and in which way they work
and what makes them work &c.

[4] First draw the spine of the back;
then clothe it by degrees , one after the
other, with each of its muscles and put in
the nerves and arteries and veins to each
muscle by itself; and besides these note the
vertebrae to which they are attached; which of
the intestines come in contact with them; and
which bones and other organs &c.

The most prominent parts of lean people On corpu-

. r 11 lency and

are most prominent in the muscular, and equally leanness
so in fat persons. But concerning the dif- ( 8 9 8l1 )-
ference in the forms of the muscles in fat
persons as compared with muscular persons,
it shall be described below.

W. An IV. 7 (A. A)]

810.

Descriui quali mu 2 scoli si perdono nello
Pgrossare, e nel dimagratre quali muscoli
si sco s prono.

6 E nota che quel loco del?la superfitie
del grasso 8 che sara piu cocauata, 9quado
si disgrassa- fia I0 piu eleuato.
"Doue li muscoli I2 si separano 1'u dal-
^.I'altro, farai p^roffili, e doue s'^appiccano
insieme . . .

Describe which muscles disappear in
growing fat, and which become visible in
growing lean.

And observe that that part which on the sur-
face of a fat person is most concave, when
he grows lean becomes more prominent.

Where the muscles separate one from
another you must give profiles and where
they coalesce ...

W. 239 (= W. L. 131)]

D FIGURA VMANA.

8n.

2 Qual parte e quella nell'omo che nel
suo ingrassa 3 re mai cresce carne?

4 Quale e quella parte che nel dimagrare
dell'omo Smai no dimagra con dimagratio
troppo sesibile? 6 infra le parti che ingras-
sano qual'e quella che piu ?ingrassa?

OF THE HUMAN FIGURE.

Which is the part in man, which, as he
grows fatter, never gains flesh?

Or what part which as a man grows
lean never falls away with a too perceptible
diminution? And among the parts which
grow fat which is that which grows fattest?

809. i. reghola . . ciasscu musscolo. 3. he chilli. 4. lasspina . . vavesstendo. 5. hagradi . . ciasscu di quessti. 6. ciasscu.
7. musscholo . . addi quessto . . acqua. 8. chongiughano . . intesstini. 9. arrisscotro . . orgha. n. parte . . mus. 12. scho-
losi essimilmete . . Malla diferetia. 13. musscoli che ali . . aris specto. 14. musscholosi . . disocto desscrcta.

810. 2. perdano. 4. musscoli. 5. prano. 6. que lochi. 7. lla. 8. chessara. 9. dissgrassa. n. musscoli. 15. apichano.

811. 3. cressce. 4. ecquella. 6. infralle parte. 8. infralle parte . . chessi. 10. musscoli . . di ma. n. gore grosseza. 12. afri-

809. The two drawings given on PI. CVIII no. I
come between lines 3 and 4. A good and very
early copy of this drawing without the written text

exists in the collection of drawings belonging to
Christ's College Oxford, where it is attributed to
Leonardo,

ANATOMY.

[8 1 2. 813.

Infra le parti che dimagrano qual'c
quella che si fa. 'piu magra?

IO Degli omini poteti in forze quali muscoli
son di mag"giore grossezza c piu eleuati?

l2 Tu ai a figurare nella tua anatomia
tutti li gradi 'Jdelle mebra dalla creatio
deU'omo insino alia sua 'morte, e insino
alia morte dell'osso, e qual parte d'esso
sprima si cosuma e qual piu si coserua.

16 E similmente dall' ultima magrezza al-
1' ultima grassezza.

Among those which grow lean which is
that which grows leanest?

In very strong men which are the mus-
cles which are thickest and most prominent?

In your anatomy you must represent all
the stages of the limbs from man's creation
to his death, and then till the death of the
bone; and which part of him is first decayed
and which is preserved the longest.

And in the same way of extreme leanness
and extreme fatness.

S. K. M. III. 66,.|

812.

NOTOMIA.

ANATOMY.

2 1 membri sefnplici sono vndici cioe There are eleven elementary tissues :

The dm- 3 cartilagine - ossi - nerui vene, * arterie - pan- Cartilage bones ner ves, veins, arteries, fascia,
"LS the nicoli legamcti e s c orde, cotica e carne e

ligament and sinews, skin, muscle and fat.

OF THE HEAD.

The divisions of the head are 10, viz.
5 external and 5 internal, the external are
the hair, skin, muscle, fascia and the skull;
the internal are the dura mater, the pia
mater, [which enclose] the brain. The pia
mater and the dura mater come again under-
neath and enclose the brain; then the rete
mirabile, and the occipital bone, which sup-
ports the brain from which the nerves spring.

DEL CAPO.

?Le parti del uaso del capo sono 10:
cioe 8 5 conteneti e 5 cotenute ; le con-
teneti ' sono: oapegli cotica carne I0 mu-
scolosa panniculo grosso e '1 " craneo |
le contenvte son queste : du 12 ra madre pia
madre cieruello | diso I3 tto ritorna la pia e
dura madre che dentro '*a se rinchiudono
il cieruello-, poi la rete j s mirabile- poi e
1'osso, fondameto del celabro Ib e donde
nascono li nerui.

S. K. M. III. 65*}

a capelli
n cotica

c carne musculosa
m paniculo grosso
50 craneo cioe osso
b dura madre
d pia madre
f ciervello

r-pia madre di sotto
/ dura madre
/ rete mirabile
s ' osso fondameto.

a. hair
n. skin

c muscle

m. fascia

o. skull /'. e. bone

b. dura mater
d. pia mater

f. brain

r. pia mater, below

/. dura mater

/. rete mirablile

s. the occipitul bone.

gurare. 15. ecqual. 16. essimilmente . . magreza . . graseza.
8ia. j. hossi. 4. pannichuli . . he. 5. codigahe. 8. he 5 cotenute. 9. codiga. 10. musscolosa. 14. asse ringiugano. 15. ellosso.

16. nasscie.
813. 2. codiga. 6. [f cieruello].

813. See PL CVIII, No. 3.

8 1 4. 815.] ANATOMY. 117

W. An. II. 37 a] 814.

Causa dell' alitare, 2 causa del moto del Of the cause of breathing, of the cause

core, 3 causa del uomito, 4 causa del disce- of the motion of the heart, of the cause of

.,,.,,,, , , vomiting, of the cause of the descent of

dere 11 s cibo dallo stomaco, causa del f nA f <A, i c ,1 c

food from the stomach, of the cause of emp-

votare li Ftestini; ty i ng the intestines.

8 Causa del moto delle 9superfluita per Of the cause of the movement of the

le inte I0 stini; superfluous matter through the intestines.

11 Causa dello inghiottire, I2 causa dello Of the cause of swallowing, of the cause

tossire, J 3 causa dello sbadigliare, ^ causa of coughing, of the cause of yawning, of the

dello starnuto, j s causa dell' adormetame l6 to cause of sneezing, of the cause of limbs

di diuerse mebra; getting asleep.

17 Causa del perdere il seso l8 ad alcu Of the cause of losing sensibility in any

mebro; limb.

*9 Causa del solletico; Of the cause of tickling.

20 Causa della lussuria e a! 2I tre necessita Of the cause of lust and other appetites

del corpo, 22 causa delPorinare, 2 3e cosl di of the body, of the cause of urine and also

tutte le lotioni natu^rali del corpo. of all the natural excretions of the body.

w. An. m. 230* (-s-)] 815.

Le lagrime 2 vengono dal 3 core e no The tears come from the heart and not

dal 4 ceruello. from the brain.

sDifinisci tutte 6 le parti di che si co- Define all the parts, of which the body

7 pone il corpo, co 8 minciadosi dalla 9 cute is composed, beginning with the skin with its

colla sua so I0 praveste, la qual IJ e spesso outer cuticle which is often chapped by the

spiccata I2 median te il sole. influence of the sun.

814. 5. dello stomacho. 6. otare le I. 7. testine. 9. super fruita. 10. stine. n. delle ingiottire. 13. isbauiglare. 14. isstarnuto.
23. tutte lutibni.

815. 2. vengano. 5 difinisscitute. 6. parte. 8. mincadosi. 9. cutic. . 10. pravessta. n. spicha.

814. By the side of this text stands the pen and skull with indications of the veins in the fleshy
ink drawing reproduced on PI. CVIII, No. 4 ; a covering.

&m&&&&&$m

II.

ZOOLOGY AND COMPARATIVE ANATOMY.

W. An. I.

8l6.

The ()IM-
sion* of the
.mini il king-
dom

(816. 817).

I'onio \ la descritionc dell'oino, nella
qual si contengono quelli che son
qua'si di simile spetie come babbuino,
scimmia e simili che so molti.

J Leone \ e suoi seguaci come pantieri,
leonze, tigri, liopardi, lupi, cervie 4 ri,
gatti di Spagna, gannetti e gatti co-
mvni c simili.

s Cdvallo e sua seguaci come mulo, asino
e simili che anno deti sopra e di sotto.

6 Toro | e sua seguaci cornvti e sanza
denti di sopra come bufolo , ceruio,
daino ^capriolo, pecore, capre, stam-
becchi, mvcheri, camozze, giraffe.

Man. The description of man, which in-
cludes that of such creatures as are of
almost the same species, as Apes,
Monkeys and the like, which are many,

The Lion and its kindred, as Panthers.
Wildcats (?) Tigers, Leopards, Wolfs,
Lynxes, Spanish cats, common cats
and the like.

T/ie Horse and its kindred, as Mule, Ass and
the like, with incisor teeth above and below.

The Bull and its allies with horns and
without upper incisors as the Buffalo, Stag
Fallow Deer, Wild Goat, Swine, Goat,
wild Goats Muskdeers, Chamois, Giraffe.

W. An. II. 206* (I)]

817.

Scrivi le varieta 2 delli intestini deMla
spetie vma 4 na, scimie e sismili; Di poi in
6 che si uaria la specie leonina, di 8 poi
la bovina, 9 e vltimo li uccelli, lo e vsa tal
descrif'tione a uso di 12 discorso.

Describe the various forms of the intestines
of the human species, of apes and such like.
Then, in what way the leonine species differ,
and then the bovine, and finally birds; and
arrange this description after the manner of
a disquisition.

816. homo la . . contiene . . chesson. 2. essimili. 3. essua seguace . . tigre. 4. gannetti . . essimili. 5. chavallo .

essimili cano. 6. essanza. 7. pechore . . stanbeche mvcheri
17. 2. drlli intestini. 4. essi. 7. elonina. 9. ucielli.' 10. discrip.

[cervio)

816. 3. Lfonta wild cat? "Secondo alcuni, lo stesso che Ltontssa; e secondo altri con //* ffrtnza, lo stesso che
Panlira." KANFANI, Vocabolario page 858.

818823]. ZOOLOGY AND COMPARATIVE ANATOMY. 119

W. A. IV. i53<5] 8l8.

Fatidarevna secodina delli. 2 vitelliquado Procure the placenta of a calf when it is Misceiiane-

nascono e nota 3 la figura de' cotiledoni, se born and observe the form of the cotyledons, h e s " t t dy n (
riser 4 vano li cotiledoni mas s chi o femminei. if their cotyledons are male or female. (8 Z i8 sfi).

W. An. IV. i6;] 8ig.

Scrivi la lingua del picchio 2 e la ma- Describe the tongue of the woodpecker

scella del cocodrillo. and the jaw of the crocodile.

G. 64 <5] 820.

Volare della 4 a spetie 2 di parpaglioni Of the flight of the 4 th kind of butter-

divo 3 ratori delle formiche alate; 4 delle flies that consume winged ants. Of the

tre principali situation! s che fanno I'ali delli three principal positions of the wings of birds

vccielli che discedono. in downward flight.

M. 67 a]

821.

Che modo fa la coda del pescie a so- Of trie way in which the tail of a fish

spin 2 giere il pescie innazi, e cosl 1'anguilla, acts in propelling the fish; as in the eel,
3 biscia e mignatta. snake and leech.

W. An. IV. 157,1 (B)] 822. .

DELLA MANO DI DENTRO. OF THE PALM OF THE HAND.

2 Farai poi vn discor 3 so delle mani di Then I will discourse of the hands of Comparative

ciascu 4 n animale per mostrare 5 in che si each animal to show in what they vary; as?uctnreor

uariano, come nell'orso che 6 agiugne la in the bear, which has the ligatures f ^"action of

legatura decile corde de' diti del pie 8 sopra the sinews of the toes joined above the muscles

il collo d' esso pie. instep.

W. XXIV (-55-)] 823.

Dimostratione secoda 2 interposta infra A second demonstration inserted between

1' anato 3 mia e '1 uiuo. anatomy and [the treatise on] the living being.

4 Figurerai a questo p s aragone le gambe You will represent here for a comparison,

de' ra 6 nocchi, le quali anno gran ^simili- tne ^ e g s f a frog; which have a great

tudine colle ganbe 8 dell'omo si nell'ossa resemblance to the legs of man, both in the

come 9 ne' suoi muscoli; di poi I0 seguirai bones and in the muscles. Then, in conti-

le gabe dirieto XI della lepre, le quali son nuation, the hind legs of the hare, which are

I2 molto muscolose e di I3 muscoli spediti, very muscular, with strong active muscles,

perche no I4 sono inpedite da grasse'Szza. because they are not encumbered with fat.

818. i. fatti. 2. nascano. 3. cotilidoni. 4. cotilidoni mass. 5. ci offeminine.

819. lingha . . pichio. 2. ella masscella. 820. 5. cheffa . . disceda.

821. i. pesscie assosspl. 2. pesscio . . languila. 3. bisscia e migmaua. 822. 6. agugne la lecatura.

823. 4. acquessto. 6. nochi. 8. com"e". 9. nu:sscoli. 12. molte.

820. 4. A passing allusion is all I can here 821. A sketch of a'fish, swimming upwards is in

permit myself to Leonardo's elaborate researches the original, inserted above this text. Compare

into the flight of birds. Compare the observations No. 1114.

on this subject in the Introduction to section XVIII 823. This text is written by the side of a drawing

and in the Bibliography of Manuscripts at the end in black chalk of a nude male figure, but there is

of the work. no connection between the sketch and the text.

120

COMPARATIVE ANATOMY.

[824826.

Qui fo ricordo 2 di dimostrare la dif-
3ferentia ch'e dall'o'mo al cauallo, e simil-
smente delli altri ani 6 mali ; e prima 7 comin-
cerd alPossa, e proseguiro 8 tutti li muscoli
che sanza corde na^scono e finiscono nelle
ossa, I0 e poi di quelli che co corda na-
"scono e finiscono nell'ossa, e poi di
quelle "che con una sola corda da v can-
to.

Here I make a note to demonstrate the
difference there is between man and the horse
and in the same way with other animals.
And first'I will begin with the bones, and then
will go on to all the muscles which spring
from the bones without tendons and end in
them in the same way, and then go on
to those which start with a single tendon at
one end.

E. ,6-] 82 5-

Nota delle piegatu 2 re delle giutu^re, e Note on the bendings of joints and in

in che mo 4 do cresce la scarne sopra di what way the flesh grows upon them in

6 loro nelli 7 lor piegame 8 tio e stendimesti; their flexions or extensions; and of this

e di questa IO Iportatissima "notitia fa uno most important study write a separate treatise:

12 particulare '^trattato | nel' 4 la descritione in the description of the movements of ani-

sde' movimeti l6 delli animali *?di quattro mals with four feet; among which is man,

pi tl( edi, infra li '^quali e 1'omo 2 "che acora who likewise in his infancy crawls on all

lui 2I nella infatia 22 va co 4 piedi. fours.

C. A. 2920; 888 a)

826.

DELLO AND ARE DELL' OMO.

2 L'andare dell'omo e sempre a uso
dell' universale andare delli animali di 4
piedi, imperoche siccome essi 3 movonp i
loro piedi in croce a vso del trotto del
cauallo, cosl 1'omo in croce si move le sue
4 mebra, cioe 4 se caccia Inati il pie destro
per caminare, egli caccia inazi co quello il
braccio sinistro, e sempre cosl seguita.

OF THE WAY OF WALKING IN MAN.

The walking of man is always after the
universal manner of walking in animals with
4 legs, inasmuch as just as they move
their feet crosswise after the manner of a
horse in trotting, so man moves his 4 limbs
crosswise; that is, if he puts forward his
right foot in walking he puts forward, with
it, his left arm and vice versa, invariably.

314. 2. la.di. 4. cssimil. 6. e p"a". 7. epposseguiro. 8. musscoli. 9. scano effiniscano. TO. eppoi. it. scano effinisscano . .
he poi. 12. [q] che.

825. i. "nota" delle pieghatu. 4. cressca. 5. charne. 7. pieghame. 8. esstendime. 9. quessta. 12. partichulare. 13. tractato.
14. lla desscritione. 18. infralli. 19. ellomo. 20. achora.

826. 2. esaenpre . . inperochessichome. 3. movano illoro . . chauallo . chosi. 4. chaccia . . desstro . . chaminare . . chaccia .
cho . . sinisstro essepr.

824. See PI. CVHI, No. 2.

, i V \

_^4~- . H-r*
Ileliog-. Dujardin. "

5x0/15 5x0/15 5x0/15 5^0/1) 5^0/15 ,5^0

PHYSIOLOGY.

W. An. IV. 173 a]

827.

Ho trovato nella compositione del corpo
vmano che, come in tutte 2 le composition!
delli animali, esso e di piv ottusi e grossi
sentimeti; ^cosl e composto di strumeto
manco ingegnoso e di lochi maco ^capaci
a ricevere la uirtu de' sensi ; 6 veduto nella
spetie Ieoni 5 na il senso dell'odorato auere
parte della sustantia del celabro, e disce-
6 dere li narici, capace ricettaculo contro al
senso dello odorato, 7 il quale entra infra
gra nvmero di saccoli cartilaginosi con
assai 8 vie contro all' avenimento del predetto
celabro.

9 Li ochi della spetie leonina anno gran
parte della lor testa per lor I0 ricettacolo,
e li nerui ottici inmediate congiugnersi col
celabro; il che al 11 !! omini si uede in con-
trario, perche le casse delli ochi sono vna
picco I2 la parte del capo, e li nerui ottici
sono sottili e lunghi e deboli, e per debo-
X 3le operatione si uede di loro il dl, e peggio
la notte, e li predetti animali ^vedono
in nella notte che '1 giorno; I5 e '1 segno se
ne vede, perche predano di notte I6 e dor-
mono il giorno come fano ancora li uccelli
notturni.

I have found that in the composition of Comparative
the human body as compared with the bodies s "r/ans of
of animals the organs of sense are duller s ^dln^\.
and coarser. Thus it is composed of less
ingenious instruments, 'and of spaces less
capacious for receiving the faculties of sense. .
I have seen in the Lion tribe that the sense
of smell is connected with part of the sub-
stance of the brain which comes down the
nostrils, which form a spacious recep-
tacle for the sense of smell, which enters
by a great number of cartilaginous vesicles
with several passages leading up to where
the brain, as before said, comes down.

The eyes in the Lion tribe have a large
part of the head for their sockets and the
optic nerves communicate at once with the
brain; but the contrary is to be seen in
man, for the sockets of the eyes are but a
small part of the head, and the optic nerves
are very fine and long and weak, and by the
weakness of their action we see by day but
badly at night, while these animals can see as
well at night as by day. The proof that they
can see is that they prowl for prey at night
and sleep by day, as nocturnal birds do also.

87- i. ottrovato . . conpositone . . chome. 3. chosi e conpossto . . mancho . . mancho. 4. chapaci. 5. nel senso . . susstantia
del celabro disce. 6. ricettachulo. 7. sachuli chartilaginosi. 9. tessta. 10. ricettachulo elli . . ottitti . . congugnersi.
ii. Hi . . chasse . . picho. 12. elli . . ellunghi. 13. eppeggo . . elli. 14. vegan inela . . gorno. 15. dormano il gorno
. . fano . . ucelli.
VOL. II. Q

122

PHYSIOLOGY.

[828. 829.

828.

ITutte le cose vedute parrano 2 mag-
Ad...ue, giori di mezza notte, che di 3 mezzo d)
, n ,h e .in.c- macc iori di mattina che *di mezzodl.l

lure of the * llla &5 i \ t Ml 611

sQuesto accade percho la pupilla del-
l' ochio minore assai di mezzo Ml- che
di nessuno altro tenpo.

Tanto quato & maggiore 1 ochio
9 over pupilla del gufo a proportione '"dello

animate, che non 6 quella dell' o" mo ,
tanto piv lume vede di notte che "no fa

Porno; ode di mezzo -dl no vede ni^ente-,
selui no diminuisce sua pupil 1 'la -, e simil-
mete vede di notte le cose mag'Sgiori -
che di di.

Every object we see will appear larger
at midnight than at midday, and larger in
the morning than at midday.

This happens because the pupil of the
eye is much smaller at midday than at any
other time.

In proportion as the eye or the pupil of
the owl is larger in proportion to the animal
than that of man, so' much the more light
can it see at night than man can; hence at
midday it can see nothing if its pupil does
not diminish ; and, in the same way, at night
things look larger to it than by day.

c. 44-1

829.

DELLI OCHI DELLI ANIMALI.

*Li ochi di tutti li animali ano le 3 lor
popille, le quali per loro medesitne cres-
cono e diminuiscono secodo il mag^giore
e minore lume del sole o altro 6 chiarore;
Ma nelli uccelli fa maggio^re differetia, e
massima nelli nottui^ni, come gufi, barba-
yianni, e all' ochi ?che son di spetie di
civetta; a questi cresce I0 la popilla in modo
che quasi occupa tut 1 'to 1' ochio, e dimi-
nuisce insino alia gra I2 dezza d'u gra di
miglio e sempre osser'^va figura circulare;
Ma la spe M tie leonina come patere,
pardi, '.Meoze, tigri, lupi, cieruieri, *
gatti di Spa l6 gnia e altri simili dimi- ^
nuiscono '7 la lucie dal perfetto circulo
18 alia figura biagolare, cioe questa '^e;
come si dimostra in margine; Ma 1'uo-
mo 20 per avere piu debole vista
che nessuno altro a 2I nimale, meno e
offeso dalla superchia luce, "e
meta nelli lochi tenebrosi^ ma
delli detti animali notturni, al 2 <gufo vc-
ciello cornuto, il quale e '1 2 s massimo nella
spetie delli vccelli nottur a6 ni : a questo s' au-
meta tanto la uirtu vi 2 ?siva, che nel minimo

C t

me s av-
ochi

OF THE EYES IN ANIMALS.

The eyes of all animals have their pupils
adapted to dilate and diminish of their own
accord in proportion to the greater or less
light of the sun or other luminary. But in
birds the variation is much greater; and
particularly in nocturnal birds, such as hor-
ned owls, and in the eyes of one species of
owl ; in these the pupil dilates in such a way
as to occupy nearly the whole eye , or
diminishes to the size of a grain of millet,
and always preserves the circular form. But
^ in the Lion tribe, as panthers, pards,
ounces, tigers , lynxes , Spanish cats
and other similar animals the pupil dimi-
nishes from the perfect circle to the
figure of a pointed oval such as is
shown in the margin. But man having
a weaker sight than any other animal
is less hurt by a very strong light and
his pupil increases but little 'in dark places;
but in the eyes of these nocturnal animals, the
horned owl a bird which is the largest of
all nocturnal birds the power of vision
increases so much that in the faintest noc-
turnal light (which we call darkness) it sees

8*8. i. tucte . le chose. 2. magiori . . meza. 3. mezo . . magiori. 4. mezo. 5. acchade. 6. mezo. 8. he magiore. ix. nocte.

12. mezo. 13. diminuisscie . . popi. 14. cssimilmcte . . ma. 15. magiore.
8j) i. dclt[o|i cchi(o]i. 3. popille le quali pe lor. 4. scano e diminvisschano . . il ma. 5. eminore. 6. vcielli. 7. diferetia

emauime neli. 8. ghufi. 9. chcsson . . qucssti cresscie. 10. ochupa. ti. diminuisscie. 12. essenpre. 13. fighura circulare.

M lla. 14. chome. 16. diminuiscano. 17. circhulo. 18. fighura biaghola . . quessta. 19. chome si dimosstra . . Mallom"o"

20. vissu. 21. luci'V. 23. notturniel. 24. ghupo . . chornuto. 25. vcielli. 26. acquessto. 28. quale noc dimadano . . ve

829. Compare No. 24, lines 8 and fol.

830. SSL]

PHYSIOLOGY.

123

lume notturno (il 28 quale da noi dimadasi
tenebre) vede assai co 2 9piu vigore che noi
nello splendore del 3 mezzo giorno, nel
quale tali vccielli sta s'nascosti in lochi te-
nebrosi; e se pur 3 2 S 6 costretti u^scire al-
Pa34ria allumina^sta dal sole, elli' 3& dimi-
nuiscono 3?tato la lor po' 8 pilla che la
po 39 tentia visiua 4diminuisce 4?insieme
colla 4 2 quatita di tale 43l uc i e .

44 Fa notomia 4 5di vari ochi, ^ e vedi
quali 47 so li muscoli 48 ch'aprono e 49serrano
le pre5dette popille s 1 delli ochi dels'li ani-
mali.

with much more distinctness than we do in the
splendour of noon day, at which time these
birds remain hidden in dark holes; or if in-
deed they are compelled to come out into
the open air lighted up by the sun, they
contract their pupils so much that their
power of sight diminishes together with the
quantity of light admitted.

Study the anatomy of various eyes and
see which are the muscles which open and
close the said pupils of the eyes of animals.

Br. M. 64 <J]

830.

a b n e il .coperchio di sotto che chi-
ude 2 Pochio di sotto in su con coperchio
oppaco, *c n b chiude 1'ochio dinanzi
idirieto 4 con coperchio transparete.

sQiiudesi sotto in su 6 perche da
alto discie"7de.

8 Quando 1'ochio delli uccelli si
chiude ^colle sue due copriture,
esso chiu I0 de prima la secondina
la qual "chiude dal lagrimatoio
alia co I2 da d'esso ochio, e la prima
si chi I3 vde da basso in alto, e que-
I4 sti due moti intersegati occupano
prima dal lacrimatoio, perche gia abbiamo
veduto che l6 dinanzi e di sotto si sono
assicurati, e sol serba I7 no la parte di
sopra per li pericoli delli uccielli ra l8 paci
che discendono di sopra e dirieto; e sco-
"^prano prima il pannicolo di verso la coda,
20 perche se '1 nemico viene dirieto, egli
a la como 2I dita| del fugire innazi, e an-
cora tiene 22 il pannicolo detto secondino
e traspa*3rente , perche se non avesse tale
scudo, e' no 2 4potrebbe tener li ochi
aperti cotro al 2 Sveto che percuote 1'ochio
nel furo 26 re del suo velocie volare; 'E
la sua 2 7popilla crescie e discrescie nel
uedere 28 minore o maggiore lume cioe
spledore.

s in and

a b n is the membrane which closes the
eye from below, upwards, with an opaque
film, c n b encloses the eye in front and
behind with a transparent membrane.

It closes from below, upwards, be-
cause it [the. eye] comes downwards.
When the eye of a bird closes
with its two lids, the first to close is
\ the nictitating membrane which closes
from the lacrymal duct over to the
outer corner of the eye; and the
outer lid closes from below upwards,
these two intersecting motions begin
first from the lacrymatory duct, because we
have already seen that in front and below
birds are protected and use only the upper
portion of the eye from fear of birds of
prey which come down from above and
behind; and they uncover first the membrane
from the outer corner, because if the enemy
comes from behind, they have the power of
escaping to the front; and again the muscle
called the nictitating membrane is transparent,
because, if the eye had not such a screen,
they could not keep it open against the
wind which strikes against the eye in the
rush of their rapid flight. And the pupil of
the eye dilates and contracts as it sees a
less or greater light, that is to say intense
brilliancy.

H.3 6i] 831.

UL' ochio che di notte s'interporra in- If at night your eye is placed between

fra '1 lume e 1'ochio 2 della gatta, vedra the light and the eye of a cat, it will see
esso occhio parere di foco.1 the eye look like fire.

assai cho. 29. vighore. 31. nasscosti inochi . . esseppur. 32. cosstretti vs. 33. allalla. 36. diminuisca. 38. chella. 40. di-
minuissie. 41. cholla. 47. musscoli. 48. aprano es.

830. 2. socto . . oppacho. 4. chon choperchio transsparete. 6. discie. 7. da. 8. vcielli. 9. cholle . . chopriture. 12. ella. 13. di
basso . . ecque. 14. interseghati ochupano. 15. dalacrimatoio . . giaa ueduto. 16. assichurati.J 17. pericholi. 18. dissciendono
. . diriecto essco. 19. panitolo . . choda. 20. nemicho . . diriecto. 22. trasspa. 23. auessi.' 25. perchuote. 26. Ella.
27. cresscie e disscresscie. 28. magiore.

831. i. ellochio. 2. vedera . . focho.

124

PHYSIOLOGY.

[832 834.

W. A.. IV. 184* (;)J

La lingua e trouata auere 24
oomuscoli li quali rispondono alii
gan. ^ musco li di che 6 2 conposta la
quatita della lingua che si move
per la bocca.

3 E quando a o v si pronutiano
con intelligibile e spedita pronu-
tia, egli snecessario che nella
continua lor 6 pronutiatione sanza
intermissio di tepo, che 'I'apritura
de' labri si uadi al cotinuo restri-
gnendo, cio larghi sarano nel
dire a, pi 9 u stretti nel dire o,
e assai piv stretti nel pr'onun-
tiare v.

"Prouasi come tutte le uo-
"cali son pronQtiate colla 'Jparte
ultima del pala'no mobile, il quale
copre Pe'Spiglotta.

w. xxij

832.

f' a

f*.

f' u .

g
la

g"
I'u

/in

p'u

The tongue is found to have
24 muscles which correspond to
the six muscles which compose
the portion of the tongue which
moves in the mouth.

And when a o u are spoken
with a clear and rapid pronunciation,
it is necessary, in order to pronounce
continuously, without any pause be-
tween, that the opening of the lips
should close by degrees; that is,
they are wide apart in saying a,
closer in saying o, and much closer
still to pronounce u.

It may be shown how all the
vowels are pronounced with the
farthest portion of the false palate
which is above the epiglottis.

833.

Se tirerai il fiato pel na'so e lo vorrai
madar fori ^per la bocca, tu sentirai il
sono 4 che fa il tramezzo cioe il Spanicolo
in . .

If you draw in breath by the nose and
send it out by the mouth you will hear the
sound made by the division that is the
membrane in [5] . . .

C. A. 89*; 2580]

DELLA NATURA DEL UEDERE.

834.

2 Dico jl uedere essere operate da tutti
On the con- li animali mediate la luce; e se alcuno

ditions of 11 i i j n-

light cotra questo ^allegnera jl uedere delli
animali notturni, dir6 questo medesima-
mete essere sottoposto a simile .-' natura;
Jperoche chiaro si coprede -, j sensi
ricievedo le similitudini delle cose no ma-
dano fori di loro alcuna virtu ; s a nzi me-
diate 1'aria, che si trova ifra 1'obietto e '1
seso -, jncorpora J se le spetie delle cose ,
e per lo cotatto, 6 che a col seso, le porgie
a quello ; se li obietti o per sono o per
odore madano le potetie spirituali all' orechio
7 o al naso , qui non e neciessario ne si
adopera la luce ; le forme delli obietti non

OF THE NATURE OF SIGHT.

I say that sight is exercised by all ani-
mals, by the medium of light; and if any.
one adduces, as against this, the sight of
nocturnal animals, I must .say that this in
the same way is subject to the very same
natural laws. For it will easily be under-
stood that the senses which receive the
images of things do not project from them-
selves any visual virtue [4]. On the contrary
the atmospheric medium which exists be-
tween the object and the sense incorpo-
rates in itself the figure of things, and by
its contact with the sense transmits the ob-
ject to it. If the object whether by sound
or by odour presents its spiritual force
to the ear or the nose, then light is not
required and does not act. The forms of
objects do not send their images into

831. i. musscole . . rospondano . . musscoli. t. conposta . . boccha. 3. lingb.ua chessi perbocha. 4. Essecquando . . cho.

4. csspedita. 7. dellabri . . resstri. 8. coe. 12. chali. 13. lla. 15. piglotto.
833. i. ettirarai. a. ello. 3. bocha tusscutirai. 4. cheffa il tramazzo. 5. panicholo.

8*. i. operate [raediitc la In) dattutti . . ette. 3. alegera . . sotto . posti . aasimile. 4. cSpIede . . similitudine . . alchuna.

5. iou . . chessi . . jnthorpora . . chotatto. 6. chol . . acquelo . . per [romore] "sono" per . . mSda . per la. 7. nessi

833- 5- The text here breaks off. 834. 4. Compare No. 68. 8. See No. 58-67.

835- 836.]

PHYSIOLOGY.

125

etrano per similitudine jfra 1'aria, 8 se quelli
no sono Ivminosi ; essedo cosl 1'ochio no
la puo ricievere da quell' aria che no 1'a e
che tocca la sua superfitie; 9 se tu volessi
dire di molti animali j quali predano di
notte , dico che quando in questi manca
la poca luce I0 che basta alia natura de'
loro ochi , che questi s' aivtano colla po-
tetia dello udito e dello odorato, IJ i quali
no sono Ipediti dalle tenebre , e de' quali
avazano di gra luga-1'omo-; Se porrai
mete a una gatta I2 di giorno sal tare Ifra
molte vasellameti -, vedrai quelli^ rimanere
salui, e se farai questo medesimo I3 di notte,
ronpera ne assai ; li vccelli notturni no
volano , se no lucie tutta o I parte la luna,
azi si pasco^no Jfra il coricare del sole
e la itera oscurita della notte ;

'sNessuno corpo si puo coprendere
saza lume e obra; lume e obra sono cau-
sate dalla luce.

the air if they are not illuminated [8]; and
the eye being thus constituted cannot receive
that from the air, which the air does not
possess, although it touches its surface. If
you choose to say that there are many ani-
mals that prey at night, I answer that when
the little light which suffices the nature of
their eyes is wanting, they direct themselves
by their strong sense of hearing and of smell,
which are not impeded "by the darkness, and
in which they are very far superior to man.
If you make a cat leap, by daylight, among
a quantity of jars and crocks you will see
them remain unbroken, but if you do the
same at night, many will be broken. Night
birds do not fly about unless the moon shines
full or in part; rather do they feed between
sun-down and the total darkness of the night.
No body can be apprehended without
light and shade, and light and shade are
caused by light.

G. 90 a]

835.

PfiRCHE NELLI OMINI ATTEPATI 2 IL UEDERE E
MEGLIO DISCOSTO.

3 II uedere e meglio discosto che da
pres*so in quelli omini, li quali s'attepano,
Sperche vna medesima cosa 6 mada di se
minore inpressione nell'oc 7 chio, essendo
remota che quado li e vi 8 cina.

WHY MEN ADVANCED IN AGE SEE BETTER AT A
DISTANCE.

Sight is better from a distance than near
in those men who are advancing in age,
because the same object transmits a smaller
impression of itself to the eye when it is
distant than when it is near.

C. At. 893; 2580]

836.

II seso corhune e quello che givdica le
cose a lui date dalli altri sensi ; 2 Li an-
tichi speculatori ano cocluso che quella
parte del giuditio che e data all'omo,
sia causata 3 da vno strumeto , al quale
referiscono li altri 5 mediate la ipressiva,
e a detto strumeto ano posto nome seso
comvne, 4 e dicono questo seso essere
situate in mezzo il capo jfra la ipres-
siva e la memoria; E questo nome di
seso s comvne dicono solamete , perche e

The Common Sense, is that which judges The seat of
of things offered to it by the other senses. the s c e mon
The ancient speculators have concluded that
that part of man which constitutes his judg-
ment is caused by a central organ to which the
other five senses refer everything by means of
impressibility; and to this centre they have
given the name Common Sense. And they
say that this Sense is situated in the centre
of the head between Sensation and Me-
mory. And this name of Common Sense

lalluce. 8. nolla po . . dacquell . . aria'"ce nola e" che tocha. 9. che qua["do" I . . mancha la pocha. 10. allandatura
chola . . delo . a[v]uldito. n. porai mete . i '. gatta. 12. vedera . . esse. 13. vcielli . . pasca. 14. corichare . . ella.
15. po . chopledere . . e chausata.

835. 2. disscosto. 3. disscossto. 5. chosa.

836. i. givdiCha . le chose allui . . dali. 2. [j nosstri] li antich[e]i spechulatori . . choncluso checquella . . guditio . . chausata
3. referischano . . 5 . "mediate la Ipresine" e a . . ano. 4. e dichano . . essere [situato] imezo [il chapo j fralla Ipresiua
ella . . Ecquesto. 5. dicano . . choravne . . deli . . vldire tochare. 6. Ipresiua . . imezo . . inpresiua. 7. similitudine . .

PHYSIOLOGY.

comvne -judice- delli altri 5 sesi, cioe
dere udire toccare gustare e odorare;
6 II senso comvne si move mediate la
Ipressiva ch'e posta-I mezzo jfra lui e i
sesi; la inpressiua si move 7 mediate le si-
militudini delle cose a lei date dalli stru-
meti superfitiali cioe sesi, i quali sono posti
I mezzo 'jfra le cose esteriori e la Ipres-
siva , e similmete i sesi si movono mediate
li obietti; 9 le circostanti cose madano le
loro similitudini ai sesi ; e i sensi le tras-
feriscono alia Ipressiva; I0 la Ipressiva le
mada al seso comvne , e da quello sono
stabilite nella memoria -, e 11 sono piv
o meno "retenute secodo la Iportatia o
potetia della cosa data ; Quello senso .
e piv veloce nel suo I2 ofitio, jl quale e
piv uicino alia impressiva , e 1'ochio
superiore- pricipe delli altri , '3 del quale

solo tratteremo e li altri lascieremo per
no ci allugare dalla nostra materia ; dice
la sperieza '*che 1'ochio s'astede J 10
varie nature d' obietti cio luce e tenebre,

1'una-cagione dell'altre 9 -, e 1'altra priva-
tione: 'Scolore e corpo figura e sito
remotione e proplquita moto e quiete.

is given to it solely because it is the com-
mon judge of all the other five senses i.e.
Seeing, Hearing, Touch, Taste and Smell.
This Common Sense is acted upon by means
of Sensation which is placed as a medium
between it and the senses. Sensation is ac-
ted upon by means of the images of things
presented to it by the external instruments,
that is to say the senses which are the
medium between external things and Sen-
sation. In the same way the senses are
acted upon by objects. Surrounding things
transmit their images to the senses and
the senses transfer them to the Sen-
sation. Sensation sends them to the Com-
mon Sense, and by it they are stamped
upon the memory and are there more or
less retained according to the importance
or force of the impression. That sense is
most rapid in its function which is "nearest
to the sensitive medium and the eye, being
the highest is the chief of the others. Of
this then only we will speak, and the
others we will leave in order not to make
our matter too long. Experience tells us that
the eye apprehends ten different natures of
things, that is: Light and Darkness, one
being the cause of the perception of the
nine others, and the other its absence:
Colour and substance, form and place, dis-
tance and nearness, motion and stillness [15].

W. An. IV. 184,. (7))

837-

Ancorache lo ingiegnio 2 vmano faccia
OB the ori-Iuetioni va^rie, rispodedo co uari ^strumeti
tin of the a Q medesimo sfine, mai esso trove 6 ra
inuentione piu ? Delia, ne piu facile, ne 8 piu
brieue della natu 9 ra, perche nelle sue in-
I0 venzioni nulla ma :i ca e nullo e superflu-
I2 o, e non va co contra 1 ^pesi, quado essa
fa le '*mebra atti al moto nel'sli corpi delli
animali; l6 Ma ui mette dentro I'a^nima
d'esso corpo copo I(< nitore, cioe 1'anima
del' 9 la madre che prima 20 conpone nella
ma 2 'trice la figura dell' o 22 mo; e al tenpo
debito * 3 desta 1* anima, che di quel 24 deve
essere abitatore, 2 Ma qual prima restau 26 a
dormetata e in tutela J 7 dell' anima della

Though human ingenuity may make va-
rious inventions which, by the help of va-
rious machines answering the same end, it
will never devise any inventions more beau-
tiful, nor more simple, nor more to the pur-
pose than Nature does; because in her in-
ventions nothing is wanting, and nothing is
superfluous, and she needs no counterpoise
when she makes limbs proper for motion in
the bodies of animals. But she puts into
them the soul of the body, which forms them
that is the soul of the mother which first
constructs in the womb the form of the man
and in due time awakens the soul that is
to inhabit it. And this at first lies dormant

chose . . dali . . scsiggugali . . mezo. 8. Infrallc . . istcriori ella Ipressiua essimilemete . . movano . . obietti le similitu-

dine. o.. delle circhuitanti chose . . similitudine a sesic sensi . . trasfcrischano . . Tpresiua. 10. Ipresiua la . . dacquello . .

elli. n. sechodo. 12. uisino . ala inpresiua . . deli. 13. trattereno e laltri lasciereno . . data. 14. chagne . . ellaltra.

. 15. chorpo . . cssito . . ecquiete.

837. i. chello. 2. vmano iniuetioni. 5. trover, n. cha e nulla. 13. fa il. 14. mebr. 16. coe. 23. dessta. 24. debbe. 25. restafui).

836. 15. Compare No. 23.

838. J

PHYSIOLOGY.

127

madre, 28 la quale la nutrisce e vivifi 2 9ca
per la vena ombelica3le, con tutti li sua
me^bri spiritual!, e cosi segu3 2 ira insino
che tale ombe^lico 11 e giunto colla se.-
3 4 condina e li cotilido35ni per la quale il
figlo3 6 lo si unisce colla madre; 3 ?e questi
son causa che v3 8 na volonta, vn sommo desi
39derio, vna paura che 4 abbia la madre,
o altro ^ i dolor metale a poteti 42 a piu nel
figliolo che ne! 43 la madre, perche spesse
sono 44 le volte, che il figlio ne per 4 5de la
vita ecc.

4 6 Questo discor-^so no ua qui, 48 ma si
r 49 ichiede 5 nella cos^ositio S 2 delli cor53pi
anima5 4 ti; E il resto della difinitione
dell' anima lascio nelssle meti de' frati,
padri de' popoli, li quali per inspira5 6 tione
sanno tutti li segreti.

5 7 Lascio star le lettere incoronate, per-
che so soma verita.

and under the tutelage of the soul of the
mother, who nourishes and vivifies it by the
umbilical vein, with all its spiritual parts,
and this happens because this umbilicus is
joined to the placenta and the cotyledons, by
which the child is attached to the mother.
And these are the reason why a wish, a
strong craving or a fright or any other men-
tal suffering in the mother, has more influence
on the child than on the mother; for there
are many cases when the child loses its life
from them, &c.

This discourse is not in its place here, but
will be wanted for the one on the compo-
sition of animated bodies and the rest of
the definition of the soul I leave to the ima-
ginations of friars, those fathers of the people
who know all secrets by inspiration.

[57]! leave alone the sacred books; for
they are supreme truth.

W. An. II. 202 a (-B-)]

838.

COME i 5 SENSI SONO OFITIALI DELL' ANIMA.

2 L' anima pare risedere nella parte
juditiale, e la parte juditiale pare essere
3 nel loco doue concorrono tutti i sesi ,
il quale e detto senso comvne, e non e
tutta 4 per tutto il corpo , come molti
ano creduto -, anzi tutto in nella parte ,
inpercche sc ella sfusse tutta per tutto e
tutta in ogni parte , non era necessario

li stru 6 meti de' sensi fare infra loro uno
medesimo cocorso a uno solo loco , anzi

basta?va che 1' ochio operasse 1' ufitio
del sentimeto sulla sua superfitie e no
mandare per la uia 8 delli nerui ottici la
similitudine delle cose vedute al seso ,
che 1' anima alia sopra sdetta ragione le
poteua compredere in essa superfitie del'o-

organs of
sense.

HOW THE FIVE SENSES ARE THE MINISTERS OF
THE SOUL.

The soul seems to reside in the judg- On the reia-
ment, and the judgment would seem to be ""^ t f th h e e
seated in that .part where all the senses
meet; and this is called the Common Sense
and is not all-pervading throughout the body,
as many have thought. Rather is it entirely
in one part. Because, if it were all-pervad-
ing and the same in every part, there would
have been no need to make the instruments
of the senses meet in one centre and in one
single spot; on the contrary it would have suf-
ficed that the eye should fulfil the function
of its sensation on its surface only, and not
transmit the image of the things seen, to
the sense, by means of the optic nerves, so
that the soul for the reason given above
may perceive it in the surface of the eye.
In the same way as to the sense of hearing,
it would have sufficed if the voice had mere-

28. la qual nutrisscie vivifi. 29. cha . . vnbilica. 30. le sua. 32. chettale vnbi. 33. licho. 34. elli. 36. unisscie colla ma
37. ecquesti. 38. somo. 42. che ne. 43. spesse so. 45. della uita ecc. 54. dellania lasscio ne. 55. le mete . . ispirita
56. tatione san. 57. Lascia doubtful . . soma.

838. 2. ella. 3. locho . . chonchorano . chomvne . . ettuta. 4. chorpo chome . . inela . . ssella. 5. fussi tutta [in ogni] per
tutto . ettutta . . neciessario . fare li. 6. infralloro .5. . . chochorso a . i . . locho. 7. operassi . . del [suo] sentimeto.
8. ottiti [il] la . . chose . . chellanima. 9. conpledere.' 10. Essimilmete il . . dellavldito . . risonassi . . chochaue. n. cho-

^37' 57- lettere incoronate. By this term Leo-
nardo probably understands not the Bible only, but

the works of the early Fathers, and all the books
recognised as sacred by the Roman Church.

128

PHYSIOLOGY.

[839-

chio ; IO E similmete al seso dell' udito
bastaua solamete la uoce risonasse nelle
cocnue porosita "dell' osso petroso che
sta dcntro all'orechio , e no fare da esso
osso al seso comune altro "trasito dove
essa s'abbocca, e abbia a discorrere al
comune givditio; l *l\ senso dell* odorato
acora lui si uede essere dalla neciessita
costretto a cocorrere a detto ^juditio;
'5 II tatto passa per le corde forate,
ed e portato a esso seso ; le quali corde
si uanno I6 spargicdo con ifinita ramifica-
tione- in nella pelle-che circuda le corporee
mebra '?e visciere ; l8 Le corde perforate
portano il comadameto e sentimeto alii
mebri ofitiali, ''le quali corde e nerui
infra i muscoli e lacierti 20 comadano a
quelli il mouimeto ; quelli ubidiscono, e
tale obedietia si "mette in atto collo sgo-
fiare , imperoche '1 gofiare raccorta le loro

lunghezze e tirasi dirieto i nerui, 22 i quali

si tessono per le particule de' mebri; es-
sendo infusi nelli stremi de' diti, ^por-
tano al seso la cagione del loro cotatto ;

a *I nerui coi loro muscoli servono
alle corde come i soldati a codottieri , e
le corde 25 seruono al senso comune come
i codottieri al capitano ; 26 aduque la givn-
tura delli ossi obbediscie al neruo -, e ' 1
neruo al muscolo e '1 muscolo alia corda,
f 'e la corda al senso comune , e'l seso
comune e sedia dell' anima , e la memo-
ria sua 28 munitione e la impress! va
sua referedaria; 2 9come il senso -serve
all' anima e no 1* anima al senso , e dove
maca il senso ofitiale dell' anima 3al-
1* anima , maca in questa vita -la totalita del-
1'ufitio -d'esso seso, come appare nel 3'mvto
e 1' or bo nato.

ly sounded in the porous cavity of the
indurated portion of the temporal bone which
lies within the ear, without making any
farther transit from this bone to the common
sense , where the voice confers with and
discourses to the common judgment. The
sense of smell, again, is compelled by ne-
cessity to refer itself to that same judg-
ment. Feeling passes through the perfo-
rated cords and is conveyed to this com-
mon sense. These cords diverge with infi-
nite ramifications into the skin which encloses
the members of the body and the viscera.
The perforated cords convey volition and
sensation to the subordinate limbs. These
cords and the nerves direct the motions of
the muscles and sinews, between which they
are placed; these obey, and this obedience
takes effect by reducing their thickness;
for in swelling, their length is reduced, and
the nerves shrink which are interwoven among
the particles of the limbs; being extended to
the tips of the fingers, they transmit to the
sense the object which they touch.

The nerves with their muscles obey the
tendons as soldiers obey the officers, and the
tendons obey the Common [central] Sense as
the officers obey the general. [2 7] Thus the
joint of the bones obeys the nerve, and the
nerve the muscle, and the muscle the tendon
and the tendon the Common Sense. And the
Common Sense is the seat of the soul [2 8],
and memory is its ammunition, and the im-
pressibility is its referendary since the sense
waits on the soul and not the soul on the sense.
And where the sense that ministers to the soul
is not at the service of the soul, all the func-
tions of that sense are also wanting in that man's
life, as is seen in those born mute and blind.

W. An. II. tot 6 (-B-)J 839.

COME I NERUI OPERANO QUALCHE UOLTA PER HOW THE NERVES SOMETIMES ACT OF THEM-

THE

LORO *SANZA COMADAMETO DELLI ALTRI
OFITIALI DELL' ANIMA.

On invoiun- ^Qucsto chiaramete apparisce , inpero-

SELVES WITHOUT ANY COMMANDS FROM
OTHER FUNCTIONS OF THE SOUL.

This is most plainly seen; for you will

. ch& tu vedrai movere ai paraletici e a see palsied and shivering persons move,

mvne. 12. essaboca . abbia dischorere . al chomune givditio [lodor]. 13. achora . . chostretto a chochorrere. 14. jvditio [il]
gusto el tatto. 15. II tutto no passa elli per le chorde . . chorde si uano [di]. 16. sprgiedo chon . . ramifichatione inella
. . circhuda le chorporee. 18. (j nervi] "le corde" . . portano [il sentimento] il chomadameto essentimeto. 19. chorde . .
musscoli. 20. acquelli . . queli obediscano [chollosco] ettale. 21. chollo schofiare ipero chel . . rachorta . . lungeze ettirasi.
22. tcssano . partichule. 23. chagione . . chotauo. 24. choi . . mvsscoli . . servno . . chorde chome chodottieri . elle
chorde. 25. seruano . . chomvne chome i chodoueri al chapitano el seso chomvne serve. 26. [adunque il neruo . serue
. ai mvsscolo el mvsscoJo). 27. musscholo el mvsscolo . . chorda. 28. ella chorda . . chomvne . . chomvne essedia . . ella
. . essua. 29. amvnitione . ella inpresiua essua referedaria [e il chore essuoj. 30. chome . . de all . . mlcha. 31. macha
. . spare. 32. ellorbo.
39. i. chome. 2. chomadameto. 3. apariiscie inperro . chettu vederai . . fredolleti. 4. chome. 5. chon . . essi . benbri . .

8^8. The peculiar use of the words nervo, mus-
ft/a, forda, senso comune, which are here literally ren-

dered by nerve, muscle cord or tendon and Common
Sense may be understood from line 27 and 28.

840-843.]

PHYSIOLOGY.

129

freddolosi, 4 e assiderati - le loro tremati
mebra come testa e mani sanza licieza
dell' anima , la quale 5 anima co tutte - sue
forze no potra vietare a essi . menbri che
no tremino; Questo medesimo 6 accade nel
malcaduco e ne' mebra tagliati come code
di lucierte ; 7 la idea over imaginatiua e
timone e briglia de' sensi , imperoche la cosa
irhaginata 8 move il seso; 9 preimaginare e
lo imaginare ,le cose che saranno; I0 post-
imaginare e imaginare le cose passate.

and their trembling limbs, as their head and
hands , quake without leave from their soul
and their soul with all its power cannot prevent
their members from trembling. The same thing
happens in falling sickness, or in parts that
have been cut off, as in the tails of lizards.
The idea or imagination is the helm and gui-
ding-rein of the senses, because the thing con-
ceived of moves the sense. Pre-imagining, is
imagining the things that are to be. Post-ima-
gining, is imagining the things that are past.

Tr. 14.

840.

4 sono le potentie : memoria e intellet-
to, lascibili e cocupiscibili, 2 le 2 prime son
ragionevoli e 1'altre sensuali; 3 I 3 sensi
vedere, udire, odorato sono di poca pro-
ibitione , tato e gusto^no ; 1' odorato mena
con seco il gusto nel cane e altri golosi
animali.

There are four Powers: memory and Misceiiane-
intellect, desire and covetousness. The two ou i JicaT 10 "
first are mental and the others sensual. The "
three senses: sight, hearing and smell cannot
well be prevented; touch and taste not at
all. Smell is connected with taste in dogs
and other gluttonous animals.

W. A. IV.

841.

Jo scopro alii omini 1'origine 2 della pri-
ma o forse secoda cagione del loro essere.

I reveal to men the origin of the first,
or perhaps second cause of their existence.

H.I 32*]

Lussuria e cavsa della gienera 2 tione.

3Gola e matenimeto della vita,
over timore e prolugaSmeto di uita
6 salvameto \iello strume^to.

842.

Lust is the cause of generation.

Appetite is the support of life. Fear
or timidity is the prolongation of life and
preservation of its instruments.

W. An. II. 43,5 (8)]

843-

COME IL CORPO DELL'ANIMALE AL CONTINUO
2 MORE E RINASCIE.

II corpo di qualunche cosa la qual si
nutrica, al continue muore e al continue
rinasce, perche entrare 5 non puo nutrimeto
se non in quelli lochi, dove il passato
6 nutrimeto e spirato, e s'elli e spirato elli
piu no a 7 V ita, e se tu no li rendi nutri-
meto equa 8 le al nutrimeto partito, allora

HOW THE BODY OF ANIMALS IS CONSTANTLY
DYING AND BEING RENEWED.

The body of any thing whatever that The law* of
takes nourishment constantly dies and is "hTsup^orf
constantly renewed : because nourishment of Iife

J J (Q . - Q , 0\

can only enter into places where the former
nourishment has expired, and if it has expired
it no longer has life. And if you do not
supply nourishment equal to the nourishment

trie mino Questo medessi. 6. achade . . mal chaducho . . mebr . . chome chode. 7. e etimone . . inpero chella chosa.
9. premaginare . . chose . chessaranno. 10. posimaginare . . chose.

840. i. lascibili e chocupiscibili. 2. ellaltre. 3. de [2] 3 sensi . . vldire . . pocha . . tato. 4. choseco . . chane . . golos.

841. i. schopro. 2. della loro "prima offorse secodo" sechonda chagione di loro.
843. i 7 R. I. chausa. 6. delo e saluameto.

843. i. chorpo . . chontinuo. 2. rinasscie. 3. chosa . . nutricha . . chon. 4. chontinuo rinasscie. 5. senon. 6. esspirato esselli
he . . no[nuj. 7. [trusscie] vita essectu. 8. mancha. 9. valtudine essettulli . . tuc. 10. ressta desstructa Massettu. n. des-
VOL. II. R

130

PHYSIOLOGY.

[844-

la vita manca di su 9 a valetudine, e se tu
li leui esso nutrimento, la uita in tut'to
resta distrurta; Ma se tu ne redi tanto
quanto si "ne distrugge alia giornata, allora
tanto rinasce di "uita, quanto se ne con-
suma a similitudine del lume > della can-
dela col nutrimeto datoli daH'omore ''d'esaa
candcla, il quale lume ancora lui al con'sti-
nuo con velocissimo socorso restaura di
sotto, I6 quato di sopra se ne consuma mo-
rendo, e di splendi'Ma lucie si convertc
moredo in tenebroso fumo, la qual I8 morte
e continua, siccome e cotinuo esso fumo,
e la c6 I0 tinuit di tal fumo & equale al
cotinuato nutrimeto, 20 e in instante tutto il
lume e morto e tutto rigienerato insie 2I me
col moto del nutrimento suo.

which is gone, life will fail in vigour, and
if you take away this nourishment, the life
is entirely destroyed. But if you restore
as much is destroyed day by day, then as
much of the life is renewed as is consumed,
just as the flame of the candle is fed by
thi nourishment afforded by the liquid of this
candle, which flame continually with a rapid
supply restores to it from below as much as is
consumed in dying above: and from a brilliant
light is converted in dying into murky smoke ; and
this death is continuous, as the smoke is conti-
nuous;andthe continuance of thesmokeis equal
to the continuance of the nourishment, and
in the same instant all the flame is dead and
all regenerated, simultaneously with the move-
ment of its own nourishment.

W. An. III. 241

844.

TiCome tu ai descritto il re delli ani-
mali ma io meglio direi dicedo 2 re delle
bestie essendo tu la maggiore perche non
li ai uccisi, acci6 che possino poi darti 3]i
lor figlioli in benifitio della tua gola colla
quale tu ai te 4 tato farti sepultura di tutti
li animali, e piu oltre direi, se'l 5 dire il
uero mi fusse integramete lecito; Ma non
usciamo 6 delle cose vmane, dicendo vna
somma scelerata?gine, la qual non accade
nelli animali terrestri, 8 inperoche in quelli
no si trovano animali che magino della
loro 9 S petie se no per macameto di celabro
(in poche infra loro, e de'ma I0 dri come
infra li omini, beche no sieno in tato nu-
mero); "e questo non accade se no nel I2 li

King of the animals as thou hast de-
scribed him I should rather say king of
the beasts, thou being the greatest because
thou hast spared slaying them, in order that
they may give thee their children for the
benefit of the gullet, of which thou hast
attempted to make a sepulchre for all ani-
mals ; and I would say still more, if it were
allowed me to speak the entire truth [5]. But
we do not go outside human matters in
telling of one supreme wickedness, which
does not happen among the animals of the
earth, inasmuch as among them are found
none who eat their own kind, unless
through want of sense (few indeed among
them, and those being mothers, as with men,
albeit they be not many in number); and
this happens only among the rapacious ani-
mals, as with the leonine species, and leo-

itruggie . . rinasscie. 12. chonsuma assimilitudine. 13. socto della chandela chol. 14. chandela . . anchora . . chon.
15. chon velocissimo (vita) "sochorso" . . socto. 16. chonsuma. 17. chonverte . . tenebro. 18. chontinua sichome chon-
tinno . . ella. 19. chotinuato. 20. e i ni state . . ettutto. 21. chol.

844. i. isscritto . . ma i . . dirai. 2. bestie "essendo tu la magore" | perche no li ai uticcoche ti possin. 3. figloli . . ai te.
5. fiuti . . none vsscia. 6. disscendo . . soma issceleratagi. 7. gine . . soma issceleratagi . . achade . . terresri. 8. frova.
io. numero)e. n. [alcvna volta) ecquesto none achade . . ne. 12. leonina [che sspessa]. 13. si magia che) . . cerveri

844. We are led to believe that Leonardo him-
self was a vegetarian from the following interesting
passage in the first of Andrea Corsali's letters to
Ginliano de' Medici: Alcuni gentili chiamati Guzzarati
non si eibano di cosa alcuna cht tenga sangue, ne fra
esri loro_ comentono che si noccia ad alcuna cosa animata,
comf il noitro Leonardo da Vinci.

5 1 8. Amerigo Vespucci, with whom Leonardo
was personally acquainted, writes in his second
letter to Pietro Soderini, about the inhabitants of

the Canary Islands after having stayed there in 1503:
"Hanno una scelerata liberta di viuere; . ... si eibano
di carne humana, di maniera che il padre magia il
figliuolo, et air incontro il figliuolo il padre se^ondo che a
caso e per sorte auiene. Io viddi vn certo huomo scele-
ratusimo che si vantaua, et si teneua a non piccola
gloria di hauer mangialo pA di trecento huomtni.
Viddi anche vna certa citta, nella quale io dimorai forse
ventisetle giorni, done le carni humane, hauendole salate,
eran afficate alii traui, si come noi alii traui di cucina

845-8470

PHYSIOLOGY.

animali rapaci, come nella spetie leonina
X 3e pardi, pardere, cervieri, gatte e simili,
^liquali alcuna volta si magiano i figlioli;
ma tu oltre 'Salli figlioli ti magi il padre,
madre, fratelli e amici, e no l6 ti basta questo,
che tu vai a caccia per le altrui isole, pi-
T 7gliando li altri omini e questi mezzo nudi
il mebro e li testi l8 culi fai ingrassare e te
li cacci giu per la tua gola; or Z 9non pro-
duce la natura tati senplici, che tu ti possa
satia 20 re? e se no ti cotenti de' senplici,
non puoi tu co la mistio 2I di quelli fare
infiniti conposti, come scrisse il Platina 22 e
li altri autori di gola?1

pards, panthers lynxes, cats and the like,
who sometimes eat their children; but
thou, besides thy children devourest father,
mother, brothers and friends; nor is this
enough for thee, but thou goest to the chase
on the islands of others, taking other men
and these half-naked, the .... and the
.... thou fattenest, and chasest them down
thy own throat [i 8]; now does not nature
produce enough simples, for thee to satisfy
thyself? and if thou art not content with
simples, canst thou not by the mixture
of them make infinite compounds, as Platina
wrote [21], and other authors on feeding?

H.2 41 b\

845-

Facciamo nostra vita coll' a! 2 trui morte.

3ln nella cosa morta rima vi^ta dissensata,
la quale ri s cogiuta alii stomachi de' vi 6 ui
ripiglia uita sesitiva ?e itellettiva.

Our life is made by the death of others.

In dead matter insensible life remains,
which, reunited to the stomachs of living beings,
resumes life, both sensual and intellectual.

s. K. M. m,

846.

La natura pare qui in moltt 2 o di molti
animali stata piu pre^sto crudele matrignia
che ma 4 dre, e d'alcuni no matrignia 5 ma
pietosa madre.

Here nature appears with many animals
to have been rather a cruel stepmother than
a mother, and with others not a stepmother,
but a most tender mother.

C. A. 75 ; 219/5]

847.

L'omo e li animali sono propi trasito
e condotto di cibo, sepoltura d' animali
albergo de' morti, facciedo a se vna 2 del-
1' altrui morte guaina di corrutione!

Man and animals are really the passage
and the conduit of food, the sepulchre of
animals and resting place of the dead, one
causing the death of the other, making them-
selves the covering for the corruption of
other dead [bodies].

chatte essimili. 14. magano i figloli, irattu. 15. figloli. 16. bassta . . chaccia. 17. meznudi. 18. ettelli caccigu. 19. chet-
tutti. 20. esse no . . poi. 22. elli . . altori.

845. i 7 R. i. faciano nosstra . . choll. 3. jnella. 4. disensata. 5. stomaci. 7. etellectiva.

846. i. immolti. 5. piatosa.

847. i. elli . . propi "trasitoe" chondotto . . morti [animali] faciedo asse. 2. morte [pigliando piacere dellaltri miserie] guaina
di chorutione.

appicchiamo le carni di cinghali secche al sole o alfumo,
et massimamente salsiccie, et altre simil cose: ami si ma-
rauigliauano grddemete che noi non magiassimo della carne
de nemici, le quali dicono muouere appetito, et essere di
maraniglioso sapore, et le lodano come cibi soaui et delicati
(Leltere due di Amerigo Vespucci Fiorentino drizzate al

magnifico Pietro Soderini, Gonfaloniere della eccelsa Re-
publica di Firenze; various editions).

21. Come scrisse il Platina (Bartolomeo Sacchi, a
famous humanist). The Italian edition of his trea-
tise De arte coquinaria, was published under the
title De la honestra voluptate, e valetudine, Venezia 1487.

132

PHYSIOLOGY.

[848851.

r. .-]

848.

La morte ne' vecchi sanza febre si causa
dalle J uene che ua dalla milza alia porta
del fegaHo e s'ingrossan tanto di pelle
ch'elle si richiudono e non danno piu
transito al san*gue che li nutrica.

6 II continue corso che fa il sangue per
le sue ?uene fa che tali vene s'ingrossano
e fanno 8 si callose in tal modo che al
(4-so)- fine si riserra'no e proibiscono il corso al
sangue.

Death in old men, when not from fever,
is caused by the veins which go from the
spleen to the valve of the liver, and which
thicken so much in the walls that they be-
come closed up and leave no passage for
the blood that nourishes it.

[6] The incessant current of the blood
through the veins makes these veins thicken
and become callous, so that at last they close
up and prevent the passage of the blood.

it t]

849.

Raggirasi 1'acque con cotinvo moto dal-
1'infime profondita de' mari alle altissime
sorhita de' moti, non osseruando 2 la natura
delle cose graui, e in questo caso fanno
come il sangue delli animali che sempre si
Jmoue dal mare del core e scorse alia so-
mit& delle loro teste, e che quiui roposi le
uene -, 4 come si uede una vena rotta nel
naso, che tutto il sangue da basso si leua
alia altezza della rotta vena; sQ ua ndo
1'aqua escie dalla rotta vena della terra
essa osserua la natura delle altre cose piv
6 gravi che 1'aria, onde senpre cerca i lochi
bassi.

The waters return with constant motion
from the lowest depths of the sea to the
utmost height of the mountains, not obeying
the nature of heavier bodies; and in this
they resemble the blood of animated beings
which always moves from the sea of the
heart and flows towards the top of the head;
and here it may burst a vein , as may be
seen when a vein bursts in the nose; all the
blood rises from below to the level of the
burst vein. When the water rushes out from
the burst vein in the earth, it obeys the law
of other bodies that are heavier than the air
since it always seeks low places.

W. A. III. 2260 (-M-)l

850.

Come il sangue che torna indirieto, That the blood which returns when the

2 quado il core si riapre, non e quel che heart opens again is not the same as that
^riserra le porte del core. which closes the valves of the heart.

Bi. M. 147 6]

851-

Fattevi dare la difinitione e riparo del Make them give you the definition and

notes casp secondo .... 2 e vedrete che remedies for the case . . . and you will see

sssT omini son eletti per medici di mala^tie da that men are selected to be doctors for

loro non conosciute. diseases they do not know.

848. i. vechi. 2. mua. 3. to singrossan. 4. vdano . . transitu. 5. chelli nutricha. 6. cheffa. 7. chettali . . effan. 8. risera.
9. proibisscano . . sanghuc.

849. i. Ragirasi. 2. fa . . animati. 3. move [dal lago] "dal mare" del . . tesste . . echi quiui ropasi. 4. chettutto . . alteza . .
ve"na". 5. esscie. 6. grave chellaria . cercha.

830. i. chettorna . . de porte.

851. i. fatevi . . caso al sco e al. 2. laltro e vedrete. 3. clallor . . conossciute.

849. From this passage it is quite plain that
Leonardo had not merely a general suspicion of
the circulation of the blood but a very clear con-
ception of it Leonardo's studies on the muscles
of the heart are to be found in the MS. W. An. III.
but no information about them has hitherto been
made public. The limits of my plan in this work
exclude all purely anatomical writings, therefore

only a very brief excerpt from this note book can
be given here. WILLIAM HARVEY (born 1578 and
Professor of Anatomy at Cambridge from 1615) is
always considered to have been the discoverer of
the circulation of the blood. He studied medicine
at Padua in 1598, and in 1628 brought out his me-
morable and important work: De motu cordis et
sanguinis.

852856.]

NOTES ON MEDICINE.

133

w. xm<5] 852.

Medicina da grattature insegniomela

A remedy for scratches taught me by the

Paraldo 2 del re di Fracia: oncie 4 ciera Herald to the King of France. 4 ounces of

nova, ocie 4, 3 pe ce greca, ocie 2 incieso V1 ' r g in wax > 4 ounces of colophony, 2 ounces

,. f ,. , of incense. Keep each thing separate: and

e oemi cosa *stia separata, e fondi la ciera, 14 . ,1 j i. f ^

& melt the wax, and then put in the incense

e poi vi metti denstro 1' incieso, e poi la an d then the colophony, make a mixture of

pece ; fa ne pe 6 verada e metti sopr' al male, it and put it on the sore place.

Tr. 7]

853.

H Medicina e ripareggiameto de' disc- Medicine is the restoration of discordant

quali elemeti; H 2 malattia e discordanza elements; sickness is the discord of the ele-
d'elemeti ifusi nel uitale corpo. ments infused into the living body.

Tr. 49]

854.

A chi da noia il uomito al nauicare
debba bere sugo 2 d'assetio.

Those who are annoyed by sickness at
sea should drink extract of wormwood.

C. A. 77*5 225*] 55-

Se vuoi star sano esser a questa nor- To keep in health, this rule is wise:

ma; 2 no magiar sanza voglia Eat only when you want and relish food.

3mastica bene; e per quel che niete ritiene, Chew thoroughly that it may do you good.

4 sia be cotto e di semplice forma; 5 C hi Have it well cooked, unspiced and undis-

medicina piglia mal s' informa. guised. He who takes medicine is ill advised.

W. An. Ill, XXV]

856.

Insegnioti di conse 2 rvare la sanita Ma
qual cosa tanto 4 piu ti riuscira, s quato piu
da fisici 6 ti guarder7ai; 8 perche le sue co
9positioni so I0 di spetie d'al^chimia.

I teach you to preserve your health; and
in this you will succed better in proportion as
you shun physicians, because their medicines
are the work of alchemists.

852. 4. sta seperata . . metti\\\\\\. 5. effane. 6. mal. 853. i. riparegiameto. 2. dischordanza.

854. al womito il nauicare deba. 2. dasentio.

855. i. uoi strasano. 2. voglia ecci\\\\ ellette. 3. masstica . . ecquel. 4. chotto.

856. i. e ingegniati. 4. riusscira. 9. positione. 10. spetie dar. 12. ella. 13. qual. 14. noneme. 15. numero. 16. de libri.
17. che sia dime. 18. dicina. The meaning of these short lines 12 18 is doubtful.

855. This appears to be a sketch for a poem.

856. This passage is written on the back of the drawing PI. CVIII. Compare also No. 1184.

XV.

Astronomy.

Ever since the publication by Vcnturi in 1797 and Libri in 1840 of some few
passages of Leonardo's astronomical notes, scientific astronomers have frequently expressed
the opinion, that they must have been based on very important discoveries, and that the
great painter also deserved a conspicuous place in the history of this science. In the
passages here printed, a connected view is given of his astronomical studies as they lie
scattered through the manuscripts, which have come down to us. Unlike his other pure-
ly scientific labours, Leonardo devotes here a good deal of attention to the opinions of
the ancients , though he does not follow the practice universal in his day of relying
on them as authorities ; he only quotes them., as we shall see, in order to refute
their arguments. His researches throughout have the stamp of independent thought.
There is nothing in these writings to lead us to suppose that they were merely an epi-
tome of the general learning common to the astronomers of the period. As early as
in the XIV th century tliere were chairs of astronomy in the universities of Padua and
Bologna, but so late as during the entire XVI th century Astronomy and Astrology were
still closely allied.

It is impossible now to decide whether Leonardo, when living in Florence, became
acquainted in his youth with the doctrines of Paolo Toscanelli the great astronomer
and mathematician (died 1482), of whose influence and teaching but little is now known,
beyond the fact that he advised and encouraged Columbus to carry out his project of
sailing round the world. His name is nowhere mentioned by Leonardo, and from the
dates of the manuscripts from which the texts on astronomy are taken, it seems higJily
probable that Leonardo devoted his attention to astronomical studies less in his youth
than in his later years. It was evidently his purpose to treat of Astronomy in a connected
form and in a separate work (see the beginning of Nos. 866 and 892; compare also
No. 1167). It is quite in accordance with his general scientific thoroughness that he should
propose to write a special treatise on Optics as an introduction to Astronomy (see
Nos. 867 and 877). Some of the chapters belonging to this Section bear the title

136

ASTRONOMY.

"Prospettiva" (set Nos. 869 and 870;, this being the tenn universally applied at the
time to Optics as well as Perspective (see Vol. /, /. 10, note to No. 13, /. iq).

At the beginning of the XVI* century the Ptolemaic theory of the universe was still
unh'ersally accepted as the true one, and Leonardo conceives of the earth as fixed, with
the moon and sun revolving round it, as they are represented in the diagram to No. 897.
He does not go into any theory' of the motions of the planets; with regard to these and
ttte fixed stars he only investigates the phenomena of their luminosity. The spherical
form of the earth he takes for granted as an axiom from the first, and he anticipates
Newton by pointing out the universality of Gravitation not merely in the earth, but even
in the moon. Although his acute research into the nature of the moon's light and the
spots on the moon did not bring to light many results of lasting importance beyond
making it evident that they were a refutation of the errors of his contemporaries, they
contain various explanations of facts which modern science need not modify in any
essential point, and discoveries which history has hitherto assigned to a very muck
later date.

The ingenious theory by which he tries to explain the nature of what is known as
earth shine, the reflection of the surfs rays by tlie earth towards the moon, saying that
it is a peculiar refraction, originating in the innumerable curved surfaces of the waves
of the sea may be regarded as absurd; but it must not be forgotten that he had no
means of detecting the fundamental error on which he based it, namely : the assumption
that the moon was at a relatively short distance from the earth. So long as the motion
of the earth round the sun remained unknown, it was of course impossible to form any
estimate of the moon's distance from the earth by a calculation of its parallax.

Before the discovery of the telescope accurate astronomical observations were only
possible to a very limited extent. It would appear however from certain passages in
the notes here printed for the first time, that Leonardo was in a position to study the
spots in the moon more closely than he could have done with the unaided eye. So far
as can be gathered from the mysterious language in which the description of his instru-
ment is wrapped, he made use of magnifying glasses; these do not however seem to have
been constructed like a telescope telescopes were first made about 1600. As LIBRI
Pointed out (Histoire des Sciences mathematiques ITT, 101) Fracastoro of Verona
( ! 473~ J 553) succeeded in magnifying the moon's face by an arrangement of lenses
(compare No. 910, note), and this gives probability to Leonardo's invention at a not much
earlier date.

THE EARTH AS A PLANET.

Kr. M.

857.

Linia d'equalita, 2 linia dell'orizzote,
3 linia giacete, ^linia equigiacete;

sQueste linie so quelle 6 che con sua
stremi so 7 equidistant! al ce 8 tro del mondo.

The equator, the line of the horizon, the The earth's
ecliptic, the meridian: pl C ri v se he

These lines are those which in all their parts ( 8 H- 8 s 8 )-
are equidistant from the centre of the globe.

F. 41

858.

Come la terra non e nel mezzo del
cerchio del 2 sole, ne nel mezzo del modo,
ma e ben nel mez^zo de' sua elemeti, con-
pagni e vniti co lei, e chi 4stesse nella luna,
quad'ella insieme col sole Se sotto a noi,
questa nostra terra coll' ele 6 mento dell' acqua
parrebbe e farebbe ofitio tal 7q U al fa la
luna a noi.

The earth is not in the centre of the
Sun's orbit nor at the centre of the universe,
but in the centre of its companion elements,
and united with them. And any one standing
on the moon, when it and the sun are both
beneath us, would see this our earth and the
element of water upon it just as we see the
moon, and the earth would light it as it lights us.

Br. M. 151 a]

859.

La forza da carestia o douitia e gie- Force arises from dearth or abundance; The funda-

nerata; 2 questa e figliola del moto materi- it is the child of physical motion, and^- 6 "^ 1 s ^

ale e nepote 3 del moto spirituale , e madre the grand-child of spiritual motion, and system

e origine del peso; 4 e esso peso e finite the mother and origin of gravity. Gravity 59 ~

nell'elemeto dell' acqua e terra, 5 e essa is limited to the elements of water and

857. 2. dorizote. 6. che cho. 7. nequidistante.

858. i. mezo. 2. mezo. 4. stessi. 5. essotto annoi . . nosta. 6. acq"a" parebbe effarebe. 7. annoi.

859. i. odouitia. 2. effigliola . . enepo. 4. chesso . . heffinito . . ettera. 5. chessa . . he. 6. mouerebbe . . potessi. 7. hessa

859. Only part of this passage belongs, strictly the second paragraph is more directly connected with
speaking, to this section. The principle laid down in the notes given in the preceding section on Physiology.
VOL. II. S

138

ASTRONOMY.

r86o. 86 1.

forza -e infinita, perche con essa infiniti
* modi si mouerebbero , se strumeti farsi
potessero, 7 doue essa forza gienerare si

potesse.

8 La forza col moto matenale e 1 peso
colla percussione 'son le quattro accidetali
potetie, collequali tuttel'opere lo de' mor-
tali anno loro essere e lor morte;

11 La forza dal moto spirituale a ori-
gine; il quale moto, "scorredo per le mebra
degli animali sensibili , ingrossa 3j muscoh
di quelli-, onde ingrossati essi muscoh si
ue'^gono a raccortare e trarsi dirieto i nervi
die con essi 'Sso cogiunti , e di qui si causa
la forza per le mebra umane.

16 La qualita e quatita delle forze d'uno
uomo potra ^partorire- altra forza-, la quale
sara proportio l8 nevolmete tanto maggiore
quato essa sara di piv ^lugo moto, 1'una
che 1'altra.

earth; but this force is unlimited, and
by it infinite worlds might be moved if
instruments could be made by which the
force could be generated.

Force, with physical motion, and gra-
vity, with resistance are the four exter-
nal powers on which all actions of mortals
depend.

Force has its origin in spiritual motion;
and this motion, flowing through the limbs
of sentient animals, enlarges their muscles.
Being enlarged by this current the muscles
are shrunk in length and contract the tendons
which are connected with them, and this is
the cause of the force of the limbs in man.

The quality and quantity of the force
of a man are able to give birth to other
forces, which will be proportionally greater
as the motions produced by them last
longer.

Br. M. 1750)

860.

H peso o perche non resta nel suo
sitor 2 non resta perche non a rcsistetia;
e do^de si movera? Moverassi inverse il
centre; e perche no per altre linie? per-
che 5 il peso, che non a resistentia, discien-
dcra 6 in basso per la uia piv brieve, e '1
piu bas?so sito e il cietro del mondo; e
perche lo sa 8 cosl tal peso trovarlo con
tanta breuita? 9 perche non va come insen-
sibile prima I0 vagando per diverse linie.

Why does not the weight o remain in its
place? It does not remain because it has no
resistance. Where will it move to? It will
move towards the centre [of gravity]. And
why by no other line? Because a weight
which has no |support falls by the shortest
road to the lowest point which is the centre
of the world. And why does the weight know
how to find it by so short a line? Because it
is not independant and does not move about
in various directions.

K. 2*1]

861.

Movasi la terra da che parte voglia,
2 mai la superfitie dell'acqua uscira fori
della ^sua spera, ma senpre
sara equidistante al ^centro del
mondo ;

slDato che la terra -si ri-
movessi dal centro 6 del mon-
do, che farebbe l'acqua?1

7 Resterebbe intorno a esso
centro 8 con equal grossezza,
ma minore diami r) tro, che
quando ella auea la terra in
corpo.

Let the earth turn on which side it may
the surface of the waters will never move
from its spherical form, but will
always remain equidistant from
the centre of the globe.

Granting that the earth might
be removed from the centre of
the globe, what would happen
to the water?

It would remain in a sphere
round that centre equally thick,
but the sphere would have a
smaller diameter than when it
enclosed the earth.

. . poUrssi. 9. quatro. 10. ellor. 12. scoredo. 13. musscoli di quelle . . musscoli. 14. gano aracortare. 16. ecquatila

. . homo. 18. magiorc. 19. luna ccllaltra.

860. 4. cientro he. 8. chon. 9. perche nonva come [in gi] insensibilc prima. 10. vagando per diuerse linie.
Ml. a. acq"a" Ylcira. 5. chella. 6. cheffarebbe.

860. This text and the sketch belonging to it,
are reproduced on PL CXXI.

861. Compare No. 896, lines 48 64; and
No. 936.

862866.]

THE EARTH AS A PLANET.

139

F. ii &\ 862.

Se la terra delli antipodi che sostiene
2 Poceano s'inalzasse' e si scoprisse assai

Supposing the earth at our antipodes
which supports the ocean were to rise and

3fori d'esso mare, essendo quasi pia*na, in stand unc vered, far out of the sea, but

che modo sarebbe poi eol tepo
li moti e le valli.

6 E li sassi di diuerse falde?

creare

remaining almost level,, by what means

afterwards, in the course of time, would
mountains and vallies be formed?

And the rocks with their various strata?

Tr. 28]

863.

Ogni omo senpre si troua nel mezzo
del modo e sotto il mezzo 2 del suo emi-
sperio, e sopra il cietro d'esso modo.

Each man is always in the middle of the
surface of the earth and under the zenith of
his own hemisphere, and over the centre of
the earth.

Leic. i a]

864.

Ricordo come io ho in prima a dimo-
2 strare la distantia del sole dalla terra, 3 e con
u de' sua razzi passati per ispi 4 racolo in loco
oscuro ritrovare Ma sua quatita vera, e oltre
a 6 di questo per lo mezzo della spera del
7 P acqua ritrovare la gradezza della terra. 1

8 Qui si dimostra come, quasdo il sole
e nel mezzo del nostro I0 emisperio, che li
antipodi IX oriental! cogli occidentaliue I2 dono
in un medesimo tenpo cias I3 cun per se
spechiare il sole nelle ^loro acque, e '1
simile quelli del po is lo artico col antartico,
se abi l6 tatori ui sono.

Mem.: That I must first show the distance
of the sun from the earth; and, by means
of a ray passing through a small hole into
a dark chamber, detect its real size; and
besides this, by means of the aqueous sphere
calculate the size of the globe . . .

Here it will be shown, that when the sun
is in the meridian of our hemisphere [io], the
antipodes to the East and to the West, alike,
and at the same time, see the sun mirrored in
their waters; and the same is equally true of
the arctic and antarctic poles, if indeed they
are inhabited.

C. A.

5; 345^1

Come la terra e una stella.

F. 56 a]

86 5 .

866.

That the earth is a star.

How to

prove that

the earth is

a planet

(865-867).

Tu nel tuo discorso ai a cocludere 2 la In your discourse you must prove that the

terra essere vna stella quasi simile alia earth is a star much like the moon, and the

luna, 4 e la nobilta del nostro modo; glory of our universe; and then you must

sE cosl farai vn discorso delle gra 6 dezze treat of the size of various stars, according

di molte stelle, secodo li autori. to the authors.

862. i. sella. 2. sinalzassi . . scoprissi essi. 5. elle. 6. elli. 863. i. mezo . . essotto il mezo.

864. i. chome . . in p"a" a dimo. 2. disstantia. 3. razi. 4. rachulo illocho osscuro. 6. mezo. 7. gradeza. 8. dimosstra chome.
9. mezo . . nosstro. io. emissperio chelli antipodi di. n. horientali. 12. gano nun. 13. scun. 14. acque . . quelgli.
15. articho chol antarticho.

865. R. 866. i. tutto tuo discorsa a co cludere. 3. luna [e cosi proverra], 6. altori.

864. io. II. Antipodi orientali cogli ocddentali, is used as meaning men living at a distance of 90

The word Antipodes does not here bear its literal degrees from the zenith of the rational horizon of

sense, but as we may infer from the simultaneous each observer,
reference to inhabitants of the North and South

140

ASTRONOMY.

[867869.

ORDINE DEL PROVARE LA TERRA ESSERE
VNA STELLA.

Jlnprima definisci Fochio, poi mostra
come il battere d'alcuna stella viene dal-
1'ochio, e perche il battere sd'esse stelle e
piu nell'una che nell'altra, e come li 6 razzi
delle stelle nascono dall'ochio, e di, che
se '1 batte?re delle stelle fusse come pare
nelle stelle, che tal baftimeto mostra d'essere
di tanta dilatatione, quat'e <>il corpo di
tale stella; essendo aduque maggiore della
ter'ra che tal moto fatto in istante sarebbe
troppo veloce "a raddoppiare la gradezza
di tale stella; Di poi pro l2 va come la super-
fitie dell'aria ne' co-
fini del foco, e ^la
superfitie del foco nel
suo termine e quel I4 la,
nella qual penetrado
li razzi solari portano
la '5 similitudine di corpi
celesti grade nel lor
Ieua l6 re, e pero e pic-
cola, essendo esse nel mezzo del celo ;
'7 sia la terra a \ n d m sia l8 la superfitie
dell'aria che ^confina colla spera del
20 foco; h f g sia il corso 2I della luna o
vuoi del sole; "dicoche quado il sole ap-
pari 2 3sce al'orizzote g, che 11 sono ueduti
24 li sua razzi passare per la superfitie
*s dell'aria infra agoli inequali cioe o m,
il che non e in d k, e acora 26 passa per
maggiore grossezza d'aria; tutto e m e
aria piu spessa.

THE METHOD OF PROVING THAT THE EARTH

IS A STAR.

First describe the eye; then show how
the twinkling of a star is really in the eye
and why one star should twinkle more than
another, and how the rays from the stars
originate in the eye; and add, that if the
twinkling of the stars were really in the stars
as it seems to be that this twinkling appears
to be an extension as great as the diameter
of the body of the star; therefore, the star
being larger than the earth, this motion
effected in an instant would be a rapid
doubling of the size of the star. Then
prove that the surface
of the air where it lies
contiguous to fire, and the
surface of the fire where
it ends are those into
which the solar rays
penetrate, and transmit
the images of the heav-
enly bodies, large when
they rise, and small, when they are on
the meridian. Let a be the earth and n d m
the surface of the air in contact with the
sphere of fire ; h f g is the orbit of the
moon or, if you please, of the sun; then I
say that when the sun appears on the hori-
zon g, its rays are seen passing through the
surface of the air at a slanting angle, that
is o m; this is not the case at d k. And
so it passes through a greater mass of air;
all of e m is a denser atmosphere.

W. XXVI]

Infra 'I sole e noi e tenebre, e
The pnn- F aria pare azzurra.

ciples of
astronomical
perspective
(868-873).

868.

pero Beyond the sun and us there is darkness

and so the air appears blue.

869.

PROSPETTIVA.

PERSPECTIVE.

2 Possibile e fare che Fochio no uedra
3 le cose remote molto diminuite, come fa

It is possible to find means by which
the eye shall not see remote objects as much

867. 3. difinissci. 4. picne . . il bat. 6. razi . . nassca . . e di chessel bate. 7. fussi . . tal ba. 9. magor. 10. istante sare trovo
veloce. n. radopiare la gradeza. 12. foco el. 15. Ha superfitie . . focho . . ecquel. 14. razi . . portata. 16. eppero e
pichole . . mezo. 20. foco. 21. della nuna ouoi. 22. apari. 23. orizote g chele veduto. 24. raii. 25. coe o m il ce non
. . acora. 26. magore grosseza.

868. ellenchrt . . azura.

869. i. proupytiva. 2. he fare chellochio . . uedera. 3. chome ffa. 4. presspcttiva naturale |le spe] le. 5. le dimin;iisschano.

868. Compare Vol. I, No. 301.

869.]

THE EARTH AS A PLANET.

141

4 la prospettiva naturale, le quali sdiminui-
scono mediante la curuita del 6 Pochio, che
e costretto a tagliare sopra di ^ se le pira-
midi di qualunche spetie che viene al 8 ochio
infra angoli retti sperici; Ma ^I'arte, che
io insegnio qui in margine, ta I0 glia
esse piramidi con angoli ret xi ti vi-
cino alia superfitie di tal popilla;
Ma I2 la convessa popilla dell'occhio
piglia sopra r ^di se tutto il nostro
emisperio, e que I4 sta mostrera solo
una stella; ma doue I5 molte pic-
cole stelle si ricevono per similitu l6 dine
nella superfitie della popilla, ^le quali
stelle son minime, questa di l8 mostrera vna
sola stella, ma fia grade; ^E cosl la luna
di maggiore gradezza, e le su 20 e macule
di piu nota figura; A questo 2I nostro ochio
si debbe fare v uetro pieno di 22 quell' acqua
di che si fa metione 2 3nel 4 del libro 113
delle cose naturali, 24 la quale acqua fa
parere spogliate di 2 5vetro quelle cose
che son congielate ne! 26 le palle del uetro
cristallino.

DELL' OCHIO.

28 Infra li corpi minori della popilla del-
P ochio 2 9quella fia manco nota a essa po-
pilla, 3 la quale le sara piu vicina || E con
questa ^sperietia ci si e fatto noto che la
virtu visiva no 3 2 si riducie in puto perche
se la ecc. ;

33Leggi I margine.

3 4 Quella cosa si ^dimostra maggi 36 ore,
che uiene 37 all' ochio co piu 38 grosso angolo.

39 Ma le spetie delli ob 4 bietti, che co-
cor 4I rono alia popilla 42 dell' ochio, si con-
paH^tono sopra tal popi 44 lla nel medesimo
4 5modo, ch'elle son c6 46 partite infra 1'aria;
4 ?e la prova di ques 48 to e in se 4 9guito;
quado noi 5riguardiamo il 51 cielo stellate
5 2 sanza por la ui53sta piu a una stella
che all'altra, ss c he allora ci si mo5 6 stra il
cielo semina57to di stelle, e so pro s8 portio-
nate nell' ochio 59 S iccome lo sono in 6o cielo,
e cosl li loro 6l spati fanno il simile.

diminished as in natural perspective, which
diminishes them by reason of the convexity
of the eye which necessarily intersects,
at its surface, the pyramid of every image
conveyed to the eye at a right angle on its
spherical surface. But by the method
I here teach in the margin [9] these
pyramids are intersected at right
angles close to the surface of the
pupil. The convex pupil of the eye
can take in the whole of our hemi-
sphere, while this will show only a
single star; but where many small stars trans-
mit their images to the surface of the pupil
those stars are extremely small; here only
one star is seen but it will be large. And
so the moon will be seen larger and its
spots of a more denned form [20]. You must
place close to the eye a glass filled with the
water of which mention is made in number
4 of Book 113 "On natural substances" [2 3];
for this water makes objects which are en-
closed in balls of crystalline glass appear
free from the glass.

OF THE EYE.

Among the smaller objects presented to
the pupil of the eye, that which is closest to
it, will be least appreciable to the eye. And
at the same time, the experiments here made
with the power of sight, show that it is not
reduced to speck if the &c.[32].

Read in the margin.

[34] Those objects are seen largest which
come to the eye at the largest angles.

But the images of the objects conveyed
to the pupil of the eye are distributed to
the pupil exactly as they are distributed in
the air: and the proof of this is in what
follows; that when we look at the starry sky,
without gazing more fixedly at one star than
another, the sky appears all strewn with stars;
and their proportions to the eye are the same
as in the sky and likewise the spaces between
them [6 1 ].

6. chosstretta attagliare. 7. piramide . . spetie viene. 8. llochio . . angholi. io. Ha [le] esse piramide chon angholi.
12. delloccio pigli. 13. mostro omissperio ecques. 14. mossterra. 15. pichole . . riciev. 16. popille [qir]. 17. stielle . .
quista e di. 18. mossterra . . maffia. 19. chosi . . magiore gradeza elle. 20. machule. 22. acqua [che] di . . metione [de],
23. chose. 24. aqua. 25. chose chesson. 26. crisstallino. 28. Infralli chorpi. 29. mancho. 29. a essa [ochu] popilla.
30. chon questa [no]. 31. ci se . . chella. 32. sella. 33. [Quella u]. 34. chosa. 35. dimosstra magi. 37. cho. 38. grosse
anghole. 39. Malle setie. 40. biecto che chochor. 41. rano. 42. chonpa"r". 43. tano. 45. cho. 46. infrallari"a". 47. ella.
48. sto [cm] cie inse. 49. quasa quado. 50. righuardiamo. 52. la ui. 53. ta. 58. ochi"o". 59. si chomelle. 60. chosi.

869. 9. 32. in margine: lines 34 6 1 are, in the
original, written on th'e margin and above them is
the diagram to which Leonardo seems to refer
here.

20 and fol. Telescopes were not in use till a
century later. Compare No. 910 arid page 136.

23. libro 113. This is perhaps the number of a
book in some library catalogue. But it may refer,
on the other hand, to one of the 120 Books men-
tioned in No. 796. 1. 84.

32. Compare with this the passage in Vol. I,
No. 52, written about twenty years earlier.

142

ASTRONOMY.

[8/0.

F. 6o*|

870.

PROSPETTIVA.

'Delle cose remosse dall'ochio con e-
quale di'stantia, quella parra esser me di-
min'vita che prima era piu.

s Delle cose remosse dall'ochio con
equal distantia dal lor prime sito quella
me diminuisce ?che prima era piu distante
da esso ochio; E tal 8 fia la proportione
della diminuitione, qual fu ?la proportione
delle distantie ch' esse avea da 10 !' ochio auanti

11 loro moto.

"Come dire il corpo / e '1 corpo c e

12 che la proportio delle lor distantie dal-
l'ochio a I:J 6 qultupla; io rimovo ciascu
dal suo sito I4 e lo fo piu distante dal-

PERSPECTIVE.

Among objects moved from the eye at
equal distance, that undergoes least .dimi-
nution which at first was most remote.

When various objects are removed at equal
distances farther from their original position,
that which was at first the farthest from the eye
will diminish least. And the proportion of the
diminution will be in proportion to the
relative distance of the objects from the eye
before they were removed.

That is to say in the object / and the objects
the proportion of their distances fromtheeyeais
quintuple. I remove each from its place and set
it farther from the eye by one of the 5 parts

1' ochio vno d'essi 5' in che e 'sdiuisa la
propositione; accade duque che il piu vicino
l6 all' ochio avra doppiata la distantia, e per
la penulti'^ma di questo esso e diminuto
la meta del suo tutto, I8 e '1 corpo e per
lo medesimo moto e diminuito l / 5 ^d'esso
suo tutto; aduque per la, detta penultima
20 & vero quel che in questa vltima s'e pro-
posto; 2I e questo dico per li moti de' corpi
celesti "in 3500 miglia di distatia che piv
esse 2 3do in oriete che sopra di noi, non
crescono o diminuiscono 2 *con sensibile
dimostratione.

into which the proposition is divided. Hence
it happens that the nearest to the eye has
doubled the distance and according to the
last proposition but one of this, is diminished
by the half of its whole size; and the body
e, by the same motion, is diminished T /s of
its whole size. Therefore, by that same
last proposition but one, that which is said
in this last proposition is true; and this I
say of the motions of the celestial bodies
which are more distant by 3500 miles when
setting than when overhead, and yet do not
increase or diminish in any sensible degree.

Br. M. 174*1

8 7 I.

a b k lo spiraculo donde 2 passa il sole,
e se tu poHessi misurare la grossezza de'
*razzi solari in n m, tu poHresti por bene
le uere linie 6 del concorso d'essi razzi solari,
7 stante lo spechio in a b, e 8 poi fare i

a b is the aperture through which the
sun passes, and if you could measure the
size of the solar rays at n m, you could
accurately trace the real lines of the conver-
gence of the solar rays, the mirror being at
a b, and then show the reflected rays at

870. i. prespcctiva. 2. remosse "dallochio" (dellor sito cone] quala di. 4. che p"a"era . . 5. chon . . dis. 6. p"o"sito qualla
. . diminuissce. 7. che p"a" . . Ettal. io. iloro. n. corpo e che e. 12. chella. 13. ciasscu del. 14. ellolofo . . inche.
>5- ' a P r "ne" achade . . che piu. 16. ara dopiato. 20. preposto. 21. ecquesto . . celestiche. 22. [1500 in] 3500 . .
dutati.i cheli a piv. 23. crescano o diminuiscano.

871. i. ellotspirnculo. 2. esettu. 3. grossezza. 4. razi. 6. razi. 7. lo-spcchio. 8. rai-i refressi. io. chettu uoli poi torre

872. 873-J

THE EARTH AS A PLANET.

143

razzi reflessi infra a9goli equali
inuerso n m I0 ma poi che tu
vuoi torre in ". m togli den-
tro allo spiracu I2 lo in c d che
si possan misura I3 re nella per-
cussione del razzo solare, ^e
poi poni il tuo spechio nella
dista^tia a b , e 11 fa cadere i
razzi d b, c a; poi l6 risaltare
infra angoli equali in uer I7 so
c d- e questo e il uero modo;
18 ma ti bisognia operare tale
spe^chio nel medesimo mese
e medesi 20 mo dl e ora e puto,
e fara meglio 2I che di nessu
tempo, perche in tal distantia
22 di sole si causp tal pi-
ramide.

equal angles to n m; but, as
you want to have them at n m,
take them at the inner side of the
aperture at cd, where they maybe
measured at the spot where the
solar rays fall. Then place your
mirror at the distance a b, making
the rays d b } c a fall and then
be reflected at equal angles to-
wards c d] and this is the best
method, but you must use this
mirror always in the same
month, and the same day, and
hour and instant, and this will
be better than at no fixed time
because when the sun is at a
certain distance it produces a
certain pyramid of rays.

872.

a parte del corpo 6 2 broso n vede
la pa'rte dell' emisferio b c d e f 4 e
vede parte alcuna sdella oscurita
terra; 6 e '1 simile accade nel
punto o; adunque lo spatio a
e 7 tutto d' una medesima
chiarezza, in s vede sol 4 gra-
8 di delF emisperio d e f g Ji-,
e vi vede tutta la terra ^s k
che la fa piu oscura quato
dara la calculatione.

tutta

no ui

della

a, the side of the body in light and
shade ;/, faces the whole portion of the
hemisphere be d e f, and does not face any
part of the darkness of the earth.
And the same occurs at the
point o', therefore the space a
o is throughout of one and the
same brightness, and s faces
a only four degrees of the hemi-
sphere d e f g A, and also the
whole of the earth .$ h, which
will render it darker; and how much must
be demonstrated by calculation.

A. 64 6}

873.

PRUOVA DELL' ACCRESCIMETO DEL SOLE 2 IN NEL
OCCIDETE.

3 Alcuni matematici dimostrano il sole
cresciere nel ponete , perche 1' ochio sepre
lo uede per aria di maggiore grossezza,
4 allegado che le cose uiste nella- nebbia e
nel acqua pajono maggiori: ai quali io
rispodo di no, inperoche le cose viste Ifra la

THE REASON OF THE INCREASED SIZE OF THE
SUN IN THE WEST.

Some mathematicians explain that the sun
looks larger as it sets, because the eye always
sees it through a denser atmosphere, alleging
that objects seen through mist or through
water appear larger. To these I reply: No;
because objects seen through a mist are

xi. allosspiracu. 12. chessi. 13.' razo. 15. elli . . razi; in the margin: "d b" c a. 17. ecquesto. 18. matti. 20. eflfara.

872. i. in a. 5. asscurita. 6. achade . . losspatio a . o . ed. 9. chella . . osscura.

873. i. dellacresscimeto. 2. inel ocidete. 3. raria . . magiore grosseza. 4. alegado chelle chose . . nebia | "e nel acq*" paro

872. This passage, which has perhaps a doubt-
ful right to its place in this connection, stands in

the Manuscript between those given in Vol. I as
No. 117 and No. 427.

144

ASTRONOMY.

[8 74 . 8 75 .

nebbia so simiMi per colorc alle lotane , e
non cssendo siniili per diminvitione appari-
scono di maggiore gradezza; Ancora nes-
suna cosa crescie-in acqua-piana, e la
pruova ne farai a lucidare vn asse niczza
sotta Pacqua; Ma la ragione che '1 sol
7crescie-si e che | Ogni corpo luminoso
quato piv s'allotana, piv pare grade.

II libro mio s'astede a mostrarc, 2 come

On the 1'ocea colli altri mari ifa mediate il sole

o'f'i^i^nhsplede're il nostro modo a modo sdi luna

in the uni- e a p j u rc moti pa"re stclla e questo

venal (pace

(874-878). provo;

?Dimostra prima come ogni lume
remote da'll'ochio fa razzi, li quali pare
che accrescino la figu^ra di tal corpo
luminoso e di questo ne segui I0 ta
che 2

"Luna frigida I2 e vmida.

'^L'acqua e frigi I4 da e vmida; '5 tale
influeti' 6 a da il nostro '7 mare alia Iu l8 na
qual la luna ' 9 a noi.

similar in colour to those at a distance; but
not being similarly diminished they appear
larger. Again, nothing increases in size in
smooth water; and the proof of this may be
seen by throwing a light on a board placed half
under water. But the reason why the sun looks
larger is that every luminous body appears
larger in proportion as it is more remote.

In my book I propose to show, how the
ocean and the other seas must, by means of
the sun, make our world shine with the appear-
ance of a moon, and to the remoter worlds
it looks like a star; and this I shall prove.
Show, first that every light at a di-
stance from the eye throws out rays
which appear to increase the size of the
luminous body; and from this it follows
that 2 . .[10].

[n]The moon is cold and moist.
Water is cold and moist. Thus our
seas must appear to the moon as the moon
does to us.

Br.'M. 25 a] 875.

L'onde dell'acqua crescono il simulacro
della cosa che 2 in lor si specchia.

J a sia il sole, n
m sia 1'acqua in 6-
data, b e '1 simula-
cro 4 del sole, quan-
do 1'acqua no fusse
inondata ; f sia 1' o-
chio s che uede esso
simulacro in tutte
1'onde che si rin-
chiudo 6 no nella basa
del triangolo c e f;
adunque il sole 7 che
nella superfitie sanza
onde occupava 1'ac-
qua c d, ora 8 nella superfitie inondata occupa
tutta 1'acqua c e (come 'prouato nel 4

The waves in water magnify the image
of an object reflected in it.

Let a be the sun,
and n m the ruffled
water, b the image
of the sun when the
water is smooth. Let
f be the eye which
sees the image in all
the waves included
within the base of
the triangle c e f.
Now the sun reflec-
ted in the unruffled
surface occupied the
space c d, while in

the ruffled surface it covers all the watery
space c e (as is proved in the 4 th of my

magiorc . . llcchose . . nebia. 5. le per cholore ale . . esendo simile . . aparischano . . magiore gradeza Anchora ncsuna
chosa. 6. acq"a" . . meza . . lacq"a" Malta. 7. cresscie . . chorpo.

874. i. libro mio (il is Aianting). 5. e "a" pill. 6. ecquesto. 7.0111 lume. 8. razi . . acresscino. u.fregida. 13. Lacq"a". 15. infrueti.

875. i. aq"a" crcsscano. 2, sisspechia. 3. lacq"a". 4. lacq"a" . . fussi. 5. chessi rinchiuda. 7. ocupava lacq"a" . . or"a".

873. Lines 5 and 6 are thus rendered by M.
RAVAISSON in his edition of MS. A. "De memt, au-
cune chose ne croit dans I'tau plane, et tu en /eras
^experience en calquant un ais sous 1'eau." Compare
the diagrams in Vol. I, p. 114.

874. 10. Here the text breaks off; lines n and
fol. are written in the margin.

875. In the original sketch, inside the circle in

the first diagram, is written Sole (sun), and to the
right of it luna (moon). Thus either of these
heavenly bodies may be supposed to fill that space.
Within the lower circle is written simulacro (image).
In the two next diagrams at the spot here marked
L the word Luna is written, and in the last sole is
written in the top circle at a.

875-]

THE EARTH AS A PLANET.

145

della mia prospettiva), e tanto piu occupe-
I0 rebbe d' acqua quanto esso simulacro fusse
piu distate dal'ochio.

"Ill simulacro del sole si dimostrera
piv lucido nell'onde mi I2 nute che nelle onde
grandill; E questo accade perche le simili-
^tudini over simulacri del sole sono piu
spesse nell'onde minute I4 che nelle grandi,
e li piu spessi splendori rendono maggiore
I5 lume che li splendori piu rari.

16 L' onde intersegate a uso di scorza di
pigna rendono il si^mulacro del sole di
grandissimo splendore, l8 e questo accade
perche tanto son li simulacri quanto son
li gio T 9ghi del' onde vedute dal sole, e

"Perspective") [9] and it will cover more of
the water in proportion as the reflected image
is remote from the eye[io].

The image of the sun will be more
brightly shown in small waves than in large
ones and this is because the reflections or
images of the sun are more numerous in the
small waves than in large ones, and the more
numerous reflections of its radiance give a
larger light than the fewer.

Waves which intersect like the scales of
a fir cone reflect the image of the sun with
the greatest splendour; and this is the case
because the images are as many as the
ridges of the waves on which the sun

1' onbre che infra esse onde s' inter 20 pongono
son piccole e di poca oscurita, e li splen-
dori di tanti 2I simulacri insieme s'infondono
nelle similitudini che di lor 22 viene alPochio,
in modo tale che esse obre sono insen-
sibili ; H

2 3Q.uel simulacro del sole occupera
2 *piu lochi nella superfitie dell' acqua, che
2 Ssara piu distante dall'ochio che lo uede;

26 a sia il sole, p q e il simulacro d'esso
27 sole, a b e la superfitie dell' acqua doue
il sol 28 si spechia, r sia 1'ochio che uede
esso si 29 mulacro nella superfitie dell' acqua
occupare 3\o spatio m; c e I'occhio
piu remoto 3 'da essa superfitie dell' acqua,
e cosl dal simulacro, onde esso simulacro
32 occupa maggiore spatio d' acqua, quato
e lo spatio n <?.

shines, and the shadows between these waves
are small and not very dark; and the radiance
of so many reflections together becomes
united in the image which is transmitted to
the eye, so that these shadows are imper-
ceptible.

That reflection of the sun will cover most
space on the surface of the water which is
most remote from the eye which sees it.

Let a be the sun, / q the reflection of
the sun; a b is the surface of the water, in
which the sun is mirrored, and r the eye
which sees this reflection on the surface of
the water occupying the space o m. c is the
eye at a greater distance from the surface
of the water and also from the reflection;
hence this reflection covers a larger space of
water, by the distance between n and o.

8. ochupa. 9. prosspectiva) ettanto . . ochupe. 10. dacq"a" . . fussi. n. dimosterra. 12. achade chelle. 13. tudine.
14. elli . . rendan magore. 15. chelli. 16. disscorsa di pina rendano [loss] il si. 17. plendore [e chiareza]. 18. ecquesto
achade. 19. ellonbre. 20. pongono . . pichole . . pocha osscurita elli. 21. sinfondano . . similitudine. 23.. sole [se]
ochupera. 25. chel uede. 27. ella. 28. sisspechia. 29. acq"a" ocupare. 30. Losspatio . . elloccio. 32. ochupa magore
. . elio.

9. Nel quarto della mia prospettiva. If this reference

is to the diagrams accompanying the text as is

usual with Leonardo and not to some particular

work, the largest of the diagrams here given

VOL. 11.

must be meant. It is the lowest and actually the
fifth, but he would have called it the fourth, for the
text here given is preceded on the same page of
the manuscript by a passage on whirlpools, with

146

ASTRONOMY.

[876.

Br. M. <!

jpossibile e 'che tanHo quato il sole
allumina dello spechio sperico, state
d'esso spechio ab 6 bia a risplendere, ?se gia
esso spechio *non fusse odate o globulc^to;

10 Vedi qui il so'Me allumina 12 re la luna,
s'Jpecchio spcri^co, e tan'Ho quato es l6 so
sole ne I7 uede, tato ne l8 fa spledere;

Qui si concludera che cio che della
luna "'splende e acqua simile a quella deg-
2I li nostri mari, e cosl inodata, cio "che
di lei non splende sone isole e ter^ra
ferma.

876.

It is impossible that the side of a sphe-
rical mirror, illuminated by the sun, should
reflect its radiance unless this mirror were
undulating or filled with bubbles.

You see here the sun which lights up the
moon, a spherical mirror, and all of its surface,
which faces the sun is rendered radiant.

Whence it may be concluded that what
shines in the moon is water like that of our
seas, and in waves as that is; and that
portion which does not shine consists of is-
lands and terra firma.

2 Questa dimostratione di tanti corpi
sperici interposti infra 1'ochio 2 Se '1 sole e
fatta per mostrare che, siccome in ciascuno
d'essi 26 corpi si uede il simulacro del sole,
cosl si puo vedere esso simulacro in cia-
2 ?scuna globosita dell'onde del mare; come
in molti di questi sperici si 28 uedono molti
soli, cosl in molte onde si uedono molti
lustri, li quali in molta 2 9distanzia, ciascu
lustro per se, si fanno gradi all' ochio e, cosl
faciedo ciascu^ na onda, si uengono a con-

This diagram, of several spherical bodies
interposed between the eye and the sun, is
given to show that, just as the reflection of the
sun is seen in each of these bodies, in the
same way that image may be seen in each
curve of the waves of the sea ; and as in
these many spheres many reflections of the
sun are seen, so in many waves there are
many images, each of which at a great distance
is much magnified to the eye. And, as
this happens with each wave, the spaces

876. i. he [chcllol spechio]. 2. consperico possa] chettan. 4. spericho ta. 6. rissplendere. 7. ga. 8. fussi odate o globbule.
ij. echio. 14. cho ettan. 19. che co che. 20. acqui . . acquella de. 21. ecco. 22. etter. 24. sperichi. 25. sole [no]
efiatta per mosstrarc [come] che si come in ciasscuno. 26. po . . in ca. 27. globbosita . . mare c . me. 28. uede . . uede
lusstri. 29. ciasscu lusstro . . fa grande . . ciasscu. 30. lesspati . . infrallonde. 31. cagone. 32. elle pane onbro. 33. che-
ttale . . none e . . in esc.

the diagram belonging to it also reproduced here.
The words della mia prospettiva may therefore indi-
cate that the diagram to the preceding chapter
treating on a heterogeneal subject is to be excluded.
It is a further difficulty that this diagram belongs
properly to lines 9 10 and not to the preceding

sentence. The reflection of the sun in water is
also discussed in the Theoretical part of the Book
on Painting; see Vol. I, No. 206, 207.

876. In the original, at letter A in the dia-
gram "Sole" (the sun) is written, and at o
(the eye).

8;;. 878.]

THE EARTH AS A PLANET.

147

sumare gli spati interposti infra 1' onde, 3* e
per questa tal cagione e' pare tutto vn
sole continuato nelli molti soli s^spechiati
nelle molte onde, e le parti onbrose miste
colle spetie luminose 33 fan che tale splen-
dore non e lucido come quel del sole in
esse ode spechia^to.

interposed between the waves are concealed;
and, for this reason, it looks as though the
many suns mirrored in the many waves were
but one continuous sun; ' and the shadows,
mixed up with the luminous images, render
this radiance less brilliant than that of the
sun mirrored in these waves.

F. 77 6]

877.

Questa avra inazi a se il trattato de
2 onbra e lumi.

3 Li stremi della luna
sara piu alluminati e si
dimostre 4 ran piu lumino-
si, perche in quelli non
appare se no le so-
Smita dell' ode delle sue
acque.

This will have before it the treatise on
light and shade.

The edges in the
moon will be most strong-
ly lighted and reflect most
light, because, there, no-
thing will be visible but
the tops of the waves of
the water [5].

W. X]

II sole parira
maggiore nell' ac-
qua movente e
odeggiate 2 che nel-
la ferma: esemplo
del lume visto so-
pra le corde 3 del
monocordo.

878.

The sun will ap-
pear larger in mov-
ing water or on
waves than in still
water; an example
is the light reflected
on the strings of a
monochord.

877. i. ara . . asse. 2. ellumi. 3. dimoste. 4. apare.

878. r. magiore . . odegiato. 2. essenplo . . chorde.

877. 5. I have thought it unnecessary to re- reflection on waves contained in the passage which
produce the detailed explanation of the theory of follows this.

II.

THE SUN.

5")

879.

LAUDE DEL SOLE.

2 Se guarderai le stelle sanza razzi (come

The question si fa a vedcr^lc per un piccolo foro fatto

aL^of'Ihe c N a strema P ata da ^ a sottile aguglia,

apparent e questo posto quasi a toccare 1'ochio),

""suL' 1 * 6 5 tu uedrai esse stelle essere tanto minime

(879-884). c j ie nu i6i a cosa p are essere minore, e uera-

mete la luga di 7 statia le fa ragionevol-

mente diminuire, ancorache 8 moltevisono

che son moltissime volte maggiori che la

'Stella cioe la terra coll' acqua ; ora pensa

quel che par I0 rebbe essa nostra stella in

tata distantia, e conside"ra poi, quate stelle

si metterebbero e per longitudine e la I2 ti-

tudine infra esse stelle, le quali sono semi-

na'^te per esso spatio tenebroso; mai no

posso fare z +ch'io non biasimi molti di

quelli antichi, li quali disse'Sro che '1 sole

non avea altra gradezza che quella che

l6 mostra, Tfra quali fu Epicure, e credo

che caua'^si tale ragione da vn lume posto

in questa nostra a l8 ria, equidistate al cetro;

chi lo uede, non lo uede mai di^minuito

di gradezza in nessuna distatia; e le ragi-

IN PRAISE OF THE SUN.

If you look at the stars, cutting off the rays
(as may be done by looking through a very
small hole made with the extreme point of
a very fine needle, placed so as almost to
touch the eye), you will see those stars so
minute that it would seem as though nothing
could be smaller; it is in fact their great
distance which is the reason of their dimi-
nution, for many of them are very many
times larger than the star which is the earth
with water. Now reflect what this our star must
look like at such a distance, and then con-
sider how many stars might be added both
in longitude and latitude between those stars
which are scattered over the darkened sky.
But I cannot forbear to condemn many of the
ancients, who said that the sun was no larger
than it appears; among these was Epicurus,
and I believe that he founded his reason on the
effects of a light placed in our atmosphere
equidistant from the centre of the earth.
Any one looking at it never sees it dimini-
shed in size at whatever distance; and the rea-

879. i. lalde. 2. ra/i. 3. picholo. 4. acuchia ecque posto . . attocare. 6. lugha dis. 7. statin dnlloro ragionevolc diminuire
nc anchora che. 8. magore chella. 9. coe . . aq"a" . . che pa. n. metterebbe e per . . clla. 14. quali disc. 15. no
chel sole . . gradeza. 16. mostra [alia] Ifra. 18. noluede. 19. minuto . . gradeza inessuna . . elle.

879882. What Leonardo says of Epicurus lestial phenomena , he probably derived from Book

who according to LEWIS, The Astronomy of the X of Diogenes Laertius, whose Vitae Philosofhorum

ancients, and MADLER, Gcschichte der Himmelskunde, was not printed in Greek till 1533, but the Latin

did not devote much attention to the study of ce- translation appeared in 1475.

88o. 88 1.]

THE SUN.

149

880.

oni della sua grandezza e virtu le riser uo
nel Z 4 libro; ma be mi maraviglio che
Socrate biasi^masse questo tal corpo, e che
dicesse quello esse 4 re a similitudine di pie-
tra infocata, e certo, chi si' oppose di tal
errore poco pecco; Ma io vorrei 6 avere
vocabuli che mi seruissero a biasimare quel-
?li che vogliono laudare piu lo adorare li
omini che 8 tal sole, no uededo nell' uniuerso
corpo 9di maggiore magnitudine e virtu di
quello; e '1 I0 suo lume allumina tutti li corpi
celesti che per l'u lj ni verso si copartono;
tutte 1'anime discedono da lui, I2 perch e il
caldo ch' e in nelli animali viui vie dall' ani-
J 3 me, e nessuno altro caldo ne lume e
nelP u I4 niverso, come mostrero nel 4 libro,
e cier^to costoro che anno voluto adorare
uomimi per i dei l6 come Giove Saturno
Marte e simili anno fatto gra^dissimo errore,
vededo che ancorache 1' omo fus l8 se grande
quato il nostro modo, che parrebbe simple
a vna minima stella, la qual pare vn puto
nell' uni 20 verso, e ancora vedendo essi omini
mortali e 2I putridi e corruttibili nelle lor
sepolture.

22 Luspera(?) 23 e Marcello 2 *lauda co
m 25 olti altri 26 esso sole.

sons of its size and power I shall reserve
for Book 4. But I wonder greatly that Socra-
tes [2] should have depreciated that solar bo-
dy, saying that it was of the nature of incan-
descent stone, and the one who opposed him
as to that error was not far wrong. But I only
wish I had words to serve me to blame those
who are fain to extol the worship of men more
than that of the sun; for in the whole universe
there is nowhere to be seen a body of greater
magnitude and power than the sun. Its light
gives light to all the celestial bodies which are
distributed throughout the universe; and from
it descends all vital force, for the heat that is in
living beings comes from the soul [vital spark] ;
and there is no other centre of heat and light
in the universe as will be shown in Book 4 ; and
certainly those who have chosen to worship
men as gods as Jove, Saturn, Mars and the
like have fallen into the gravest error, seeing
that even if a man were as large as our earth,
he would look no bigger than a little star
which appears but as a speck in the universe;
and seeing again that these men are mortal,
and putrid and corrupt in their sepulchres.
Marcellus [23] and many others praise
the sun.

881.

Forse Epicuro vide le obre delle colonne
ripercosse nelli an 2 tiposti muri essere equali
al diametro della colona ^donde si parti a

Epicurus perhaps saw the shadows cast by
columns on the walls in front of them equal
in diameter to the columns from which the

880. i. grandeza. 3. massi. .dicessi. 4. assimilitudine. 5. loponi . . erore . . pecho. 6. seruissino abbiasimare que. 7. che vollo
laldare. 9. magore. n. copartano . . disceda dallui. 12. inelli. 13. nellume enellu. 14. mosterro. 15. che an . . ho-
mini . . iddei. 16. gove saturno marte essimili an. 17. che anchorachellomo fu. 18. si grande . . parebe. 19. stela.
21. pitridi e curuttibili. Lines 22 26 are written on the -margin. 22. luspera (?). 24. lalda.

881. i. ripercose. 2. diametro. 3. esendo . . paralella. 5. gudicare. 6. fussi. 8. colona . . sauide. n. fussi . ..lesstelle. 12. sarebo.

880. 2. Socrates; I have little light to throw on
this reference. Plato's Socrates himself declares on
more than one occasion that in his youth he had
turned his mind to the study of celestial pheno-
mena (MeT^wpa) but not in his later years (see G.
C. LEWIS, The Astronomy of the ancients, page 109;
MADLER, Geschichte der Hintmelskunde, page 41).
Here and there in Plato's writings we find inci-
dental notes on the sun and other heavenly bodies.
Leonardo may very well have known of these, since
the Latin version by Ficinus was printed as early
as 1491; indeed an undated edition exists which
may very likely have appeared between 1480 90.

There is but one passage in Plato, Epinomis
(p. 983) where he speaks of the physical properties
of the sun and says that it is larger than the earth.

Aristotle who goes very fully into the subject
says the same. A complete edition of Aristotele's
works was first printed in Venice 1495 9^> but a
Latin version of the Books De Coelo et Mundo and
De Physica had been printed in Venice as early as
in 1483 (H. MULLER-STRUBING).

23. I have no means of identifying Marcello who
is named in the margin. It may be Nonius Mar-
cellus, an obscure Roman Grammarian of uncertain
date (between the II nd and V th centuries A. C.) the
author of the treatise De compendiosa doctrina per
litteras ad filium in which he treats de rebus omni-
bus et quibusdam aliis. This was much read in the
middle ages. The editio princeps is dated 1470 (H.
MULLER-STRUBING).

881. In the original the writing is across the diagram.

ISO

ASTRONOMY.

[882.

talc obra ; essendo adunque il coco'rso del-
1'obre paralello dall'suo nascimeto al suo
fine, Mi parue da giudicare che '1 sole an-
6 cora lui fusse frote di tal paralePlo, e per
cosegueza non essere piv gros 8 so di tal
colonna, e no s'avvidc che tal 'diminuitione

shadows were cast; and the breadth of the
shadows being parallel from beginning to
end, he thought he might infer that the sun
also was directly opposite to this parallel
and that consequently its breadth was not
greater than that of the column; not perceiv-
ing that the diminution in the shadow was

d'obra era insesibile I0 per la lunga distan-
tia del sole; "se '1 sole fusse minore della
terra, le stelle I2 di gra parte del nostro
emisperio sarebbero sa'^za lume; cotro a
Epicure che dice, tato e ^grade il sole,
quato e'pare.

insensibly slight by reason of the remoteness
of the sun. If the sun were smaller than
the earth, the stars on a great portion of our
hemisphere would have no light, which is
evidence against Epicurus who says the sun
is only as large as it appears.

882.

Dice Epicure il sole essere tato quato
esso si dimostra; a 2 dunque e'pare essere
vn pie, e cosl 1'abbiamo a tenere; ^segui-
rebbe che la luna quad'ella fa oscurare il
sole, il so 4 le non 1'avazerebbe di gradezza
come e' fa, onde, sendo s la luna minor del
sole, essa luna sarebbe meno d'un piede,
6 e per consegueza quando il nostro modo
fa oscurare la lu?na, sarebbe minore a un
dito del piedi, concio sia se '1 so 8 le e un
piede, e la nostra terra fa onbra piramidale
in^verso la luna, egli e necessario che sia
maggiore il lumi I0 noso, causa della pira-
mide obrosa, che 1'opaco, causa d' essa "pi-
ramide.

Epicurus says the sun is the size it looks.
Hence as it looks about a foot across we
must consider that to be its size; it would
follow that when the moon eclipses the sun,
the sun ought not to appear the larger, as
it does. Then, the moon being smaller than
' the sun, the moon must be less than a foot,
and consequently when our world eclipses
the moon, it must be less than a foot by a
finger's breadth ; inasmuch as if the sun is a foot
across, and our earth casts a conical shadow
on the moon, it is inevitable that the lumi-
nous cause of the cone of shadow must be
larger than the opaque body which casts the
cone of shadow.

88a. 2. labia r,o attcnere. 3. seguirebe chella. 4. nollauazerebbe . . gradeza chome. 5. medun piedi. 6. chonsequeza . . osscurar.
\ 7. concosia. 8. piedi ella. 9. luna "la" egli . . magore. 10. caua della.

883-885.]

THE SUN.

F. 10 6}

88 3 .

; nel

Misura quati soli si metterebbero
corso suo di 24 ore.

3 Fa vn circulo e voltalo a mezzodl,
come so ^H orilogi da sole, e metti vna
-bacchetta in s mezzo, in modo che la sua
lughezza si di 6 rizzi al cetro di tal cerchio, e
nota I'on7bra che fa il sole d'essa bacchetta
sopra la 8 circuferentia di tale cerchio, che
sara 9l' O nbra larga, diciamo tutto a n; ora
I0 misura quante volte tale obra entra in
11 tale circuferetia di cerchio, e tate vol I2 te
fia il numero che '1 corpo solare
entrera nel ^corso suo in 24 ore;
e qui si potra J +vedere, se Epi-
curo disse, che '1 sole era ^tanto
grande quato esso parea | che, pa-
I6 rendo il diametro del sole vna misura
X 7pedale, e che esso sole entrasse mille
18 volte nel suo corso di 24 ore, egli avre-
J 9bbe corso mille piedi, cioe 300 'braccia
che 20 e vn sesto di miglio; ora ecco che
'1 cor 21 so del sole infra dl e notte sarebbe
22 la sesta parte d' u miglio , 2 3 e questa
venerabile lumaca del s6le av 2 -*rebbe cami-
nato 25 braccia per ora.

To measure how many times the diameter
of the sun will go into its course in 24 hours.
Make a circle and place it to face the south,
after the manner of a sundial, and place a
rod in the middle in such a way as that its
length points to the centre of this circle,
and mark the s.hadow cast in the sunshine
by this rod on the circumference of the
circle, and this shadow will be let us say
as broad as from a to n. Now measure
how many times this shadow will go into
this circumference of a circle, and
that will give you the number of
times that the solar body will go
into its orbit in 24 hours. Thus
you may see whether Epicurus was
[right in] saying that the sun was only as large
as it looked; for, as the apparent diameter
of the sun is about a foot, and as that sun
would go a thousand times into the length of
its course in 24 hours, it would have gone a
thousand feet, that is 300 braccia, which is the
sixth of a mile. Whence it would follow that
the course of the sun during the day would be
the sixth part of a mile and that this venerable
snail, the sun will have travelled 25 braccia
an hour.

F. o"]

884.

Possidonius copose libri della gradezza Posidonius composed books on the size

del sole. of the sun.

G. 34 ] 885.

DELLA PROVA CHE 'L SOLE E CAL Z DO PER
NATURA E NO PER VIRTU.

OF THE PROOF THAT THE SUN IS HOT BY
NATURE AND NOT BY VIRTUE.

3 Che '1 sol sia in se caldo per natura
e no per vir*tu, si dimostra manifestamete

That the heat of the sun resides in its f the nature

, -,, r j t f Sunlight.

nature and not in its virtue [or mode of

883. i. metterebbe. 3. mezodi. 4. dassole . . bnchetta. 5. mezo . . chella. 5. lugeza. 6- rizi. 7. cheffa. 8. cercio chessara.

9. largha. n. ettate. 12. il n"o" chel . . entera. 13. ecqui. 16. diamitro. 17. entrassi. 18. egliare. 19. coe 300 br .

che. 20. miglo ora e che chel corso. 21. serebbela. 22. minato la sesta. 23. che questa . . lumacha del sole a. 24. rebe

. . 25. br per.
885. i 47 R. i. gradeza. 4. manifestameti. 5. sprendore. 6. po. 8. razi refre. 9. delli. n. eldore chellochio nol possa

884. Poseidonius of Apamea, commonly called
the Rhodian, because he taught in Rhodes, was a
Stoic philosopher, a contemporary and friend of
Cicero's, and the author of numerous works on
natural science, among them: Ouotxoi; Xoyo;,
Trepl x.oay.ou, Tispl jxeTscupoav.

Strabo quotes no doubt from one of his works,
when he says that Poseidonius explained how it
was that the sun looked larger when it was rising
or setting than during the rest of its course (III, p. 135).

Kleomedes, a later Greek Naturalist also mentions
this observation of Poseidonius' without naming the
title of his work; however, as Kleomedes' Cyclia
Theorica was not printed till 1535, Leonardo must
have derived his quotation from Strabo. He pro-
bably wrote this note in 1508, and as the original
Greek was first printed in Venice in 1516, we must
suppose him to quote here from the translation by
Guarinus Veronensis, which was printed as early as
1471, also at Venice (H. MULLER-STRUBING).

152

ASTRONOMY.

[886. 887.

per Mo splendore del corpo solare, nel
*qual no si pud fermare 1'ochio vmano,
?e oltre a di questo manifestissima 8 mcte
lo dimostrano li sua razzi refte'ssi dalli
spechi concavi, li quali, qua'do la lor per-
cussione sara di tato sp"lendore, che
1'occhio non lo possa soppo I2 rtare, allora
cssa percussione '^avra splendore simile al
sole nel 'suo propio sito; e che sia vero,
pro'Svo che se tale spechio a la sua ^co-
ca vita tal qual si richiede alia ^generatione
di tale razzo, allora l8 nessuna cosa creata
reggera I9 alla caldezza di tale percussione
zo di razzo reflesso d'alcuno spechio; 2I e se
tu dirai che lo spechio anco 22 ra lui e freddo
e gitta i razzi caldi, io 2 Jti rispondo, che
'1 razzo vie dal sole ed e 2 *il razzo 2 sdello
spec a6 chio conca 2 ?vo, passa z8 to 2 ?a traver-
3so della J'finestra.

action] is abundantly proved by the radiance
of the solar body on which the human eye
cannot dwell and besides this no less
manifestly by the rays reflected from a con-
cave mirror, which when they strike the eye
with such splendour that the eye cannot bear
them have a brilliancy equal to the sun in
its own place. And that this is true I prove
by the fact that if the mirror has its con-
cavity formed exactly as is requisite for the
collecting and reflecting of these jrays, no
created being could endure the heat that
strikes from the reflected rays of such a
mirror. And if you argue that the mirror
itself is cold and yet send forth hot rays,
I should reply that those rays come really
from the sun and that it is the ray of the
concave mirror after having passed through
the window.

Considera-
tions as lo
the size of
the sun

(836-891).

W. L. 132*]

II sole no si move.

Ash. I. 190]

886.

887.

The sun does not move.

PRUOVA COME QUATO PIV SARAI PRESSO PROOF THAT THE NEARER YOU ARE TO THE

ALLA CAGI 2 ONE DE* RAZZI DEL SOLE , PIV TI SOURCE OF THE SOLAR RAYS, THE LARGER WILL

PARRA MAGGIORE 1L SOLE 3 SPECHI ATO SUL THE REFLECTION OF THE SUN FROM THE SEA
MARE. APPEAR TO YOU.

4 Se il sole adopera il suo splendore col
suo cietro 5 a fortificare la potetia di tutto
il corpo, e ne 6 ciessario che i
sua razzi, quato piv s' alontanano
da lui, piv si uadino 7 apredo :' se
cosl e, tu che sei col ochio presso
all'acqua che spechia il sole,
8 vedi una minima parte de' razzi
del sole portare sulla superfitie
9 del'acqua la forma d'esso sole
spechiato , e se tu sarai presso
al sole, I0 come sarebbe quado
il sole e I mezzodl e '1 mare
sia per ponete, ved"rai il sole
spechiarsi su detto mare di gradis-

[4] If it is from the centre that the sun em-
ploys its radiance to intensify the power of its
whole mass, it is evident that the
farther its rays extend, the more
widely they will be divided; and
this being so, you, whose eye is
near the water that mirrors the sun,
see but a small portion of the rays
of the sun strike the surface of
the water, and reflecting the form
of the sun. But if you were near to
the sun as would be the case
when the sun is on the meridian
and the sea to the westward you
would see the sun, mirrored in the

sopo. 12. percussione ar. 13. ara. 15. va chesse tale . . alia. 17. razo. 18. regiera. 20. refresso. 21. essettu . . chello.

22. fredo . . razi. 23. razo. 24. razo. 28. to [per il fo]. Lines 32 47 are much effaced and some words remain doubtful:

32. delle stan (?). 33. cedove. 34. so tundu (?). 35. si\\\\\\\\\\. 36. non aqst ( aguistera >). 37. caldeza ne. 38. an-

cora \\U\\\\. 39. passado per la. 40. spera del co. 41. simulacro. 42. alia su. 43. a cavsa e. 44. passi per ele. 45. meto
(?) pa. 46. tar si TO. 47. glia.

M6. El sol.

8*7. . razi . . para magiore. 4. splendre. 5. a forzifichato dala . . chorpo. 6. razi. 7. che se chol . . preso. 8. vedi i .

parte (del sole] de razi . . sula. 9. esse tussarai. io. sarebe . . mezodi . . vede. 12. razi. 13. perco . . magiore

886. This sentence occurs incidentally among mathematical notes, and is written in unusually large letters.

887. Lines 4 and fol. Compare Vol. I, Nos. 130, 131.

888891.]

THE SUN.

153

sima forma, perche, I2 essedo tu piu presso
al sole-, 1'ochio tuo, pigliado i razzi presso
al puto, I3 ne piglia piv, e percio ne resulta
maggiore spledore, e per questa ca^gione
si potrebbe provare la luna essere mare
che spe I5 chia il sole , e quello che no ri-
splede fia terra.

sea, of a very great size; because, as
you are nearer to the sun, your eye taking in
the rays nearer to the point of radiation
takes more of them in, and a great splendour
is the result. And in this way it can be
proved that the moon must have seas which
reflect the sun, and that the parts which do
not shine are land.

Br. M. 7 8i] 888.

Togli la misura 2 del sole in solstitio Take the measure of the sun at the sol-

3 a mezzo giugnio. stice in mid- June.

A. 64 a]

PERCH& IL SOLE PARE
MAGGIORE NEL TRA 2 MO-

TARE CHE DI MEZZO
GIORNO CHE CI E PRESSO.

3(3gni corpo ch'e
visto per curvo mezzo
4apparisce di maggiore
forma, che non e.

C. A. 234-5; 704*] 890.

Perche 1'ochio e piccolo, esso non puo
vedere 2 il sole in simvlacro, se no piccolo ;
^Se 1'occhio fusse equale al sole, esso
vedrebbe ^nell'acque, dato che le fussi

WHY THE SUN APPEARS

LARGER WHEN SETTING

THAN AT NOON, WHEN

IT IS NEAR TO US.

Every object seen
through a curved me-
dium seems to be of lar-
ger size than it is.

Because the eye is small it can only see
the image of the sun as of a small size. If
the eye were as large as the sun it would
see the image of the sun in water of the

Spiane, il simulacro del sole equa 6 le al same size as the real body of the sun, so

uero corpo del sole.

Tr. 12]

MODO DI VEDERE IL SOLE ECLISSATO SANZA
PASSIONE DELL'OCHIO.

2 Tolli vna carta
e falle busi con una
agucchia, e per es^si
busi riguarda il sole.

long as the water is smooth.

A METHOD OF SEEING THE SUN ECLIPSED
WITHOUT PAIN TO THE EYE.

Take a piece of pa-
per and pierce holes in
it with a needle, and
look at the sun through
these holes.

888.

889.
890.
891.

4. potrebe. 15. ecquella.

. to la. 2. sostitio. 3. [a me] stitio a mezo gugnio.

magiore. 2. megogorno checepresso. 3. chorpo .. . churvo mezo. 4. aparisscie di magiore.
. picholo . . po. 2. dere il . . picholo. 3. Sellochio fussi. 4. aque . . chelle.
. da vedere. 2. charta . . chon aguchia epere.

889. At A is written sole (the sun), at B terra (the earth).

in.

THE MOON.

Br. M. 94

8g2.

DELLA LUNA.

2 Volendo io trattare della essentia della
On the l u na e neciessario in prima 3 descriuere la

luminosity . .... ....

of the moon prospcttiva delli spechi piani, cocaui e co-

(8oa-ooi). r f , , .

uessi ; ' e pnma che cosa e razzo lummoso,
e come si piega per varie nature $di mezzi;
Dipoi dove il razzo riflesso e piu potete,

OP THE MOON.

As I propose to treat of the nature of
the moon, it is necessary that first I should
describe the perspective of mirrors, whether
plane, concave or convex; and first what
is meant by a luminous ray, and how it is
refracted by various kinds of media; then,
when a reflected ray is most powerful, whether

o nell'esser 1'angolo 6 della incidentia acuto
retto o ottuso, o nelle couessita o piano o
7 c6cavita, o da corpo deso e trasparete;
Oltre a-questo, 8 come li razzi solari, che
percuotono 1'onde marine, si dimostrano al

when the angle of incidence is acute, right,
or obtuse, or from a convex, a plane, or a
concave surface; or from an opaque or a
transparent body. Besides this, how it is that
the solar rays which fall on the waves of
the sea, are seen by the eye of the same

899. 2. tr.ict.ire. 3. desscriuere . . presspectiva . . cochaui e chouissi [e che]. 4. chosa errazzo . . chotne . . piegha. 5. mezi
. . refresso cppitt potete o nell esser lato. 6. achuta retta o hottusa ho . . pioni ho. 7. chochavita adda chorpo . . ettras-
parete . . addiquesto. 8. (home li razi . . perchotano. 9. llochio . . largheza . . aghol . . soma. io. orizote . . macha
chettalc. ti. frcsso . . fighura . . chosseghuc. 12. disstatia . . largheza achora. 13. nosstro . . dimosstri parallel.!. 15. he

892. In the diagram Leonardo wrote sole at the place marked A.

893-]

THE MOON.

155

9 1'ochio in tanta larghezza nell'agolo dell'o-
chio quanto nell' ultima somma I0 dell' ode
all'orizzote, e per questo no maca che
tale splendore solare ri^flesso dall'ode ma-
rittirne no sia di figura piramidale e per
consegue I2 za in ogni grado di distatia non
acquisti gradi di larghezza acorache I3 in-
quato al nostro vedere si dimostri pa-
ralello.

^i a 1Nessu lievissimo ^e opaco;!

l6 2 a 1fNessu piu lieve sta X 7sotto al me
lieve ; 1

l8 3 a liSe la luna a sito ^in mezzo ai
sua ele 20 meti o no;

21 e s'ella non a sito 22 particulare co-
23 me la terra nelli sua 2 4elemeti, per-
che no ca 2 sde al cientro de' nostri 26 ele-
menti?

2 ?E se la luna non e 28 in mezzo alii
sua eleme 2 9ti e no discede, 3 aduque ella
e piu 3 1 lieve che altro eleme" 32 to;

33 E se la luna e piu Iie 34 ve che altro
elemeto, per 3 Sche e solida e no traspare.

36 lDelle cose di varie gradezze che,
poste in varie distatie, 37 si mostrano e-
quali, tal proportione fia da distatia a
dista 38 tia, qual fia da magnitudine a mag-
nitudine. II

width at the angle nearest to the eye, as at
the highest line of the waves on the horizon;
but notwithstanding this the solar rays re-
flected from the waves of the sea assume the
pyramidal form and consequently, at each
degree of distance increase proportionally in
size, although to our sight, they appear as
parallel.

i st . Nothing that has very little weight is
opaque.

2 dly . Nothing that is excessively weight
can remain beneath that which is heavier.

3 dly . As to whether the moon is situated
in the centre of its elements or not.

And, if it has no proper place of its
own, like the earth, in the midst of its ele-
ments, why does it not fall to the centre of
our elements [2 6] ?

And, if the moon is not in the centre
of its own elements and yet does not fall, it
must then be lighter than any other element.

And, if the moon is lighter than the other
elements why is it opaque and not transparent?

When objects of various sizes , being
placed at various distances, look of equal
size, there must be the same relative proportion
in the distances as in the magnitudes of the
objects.

F. 93 a]

893.

BELLA LUNA E SE ELLA E PULITA E
SPERICA. .

2 II simulacro del sole in lei e potete-
men 3 te luminoso ed e in piccola parte della
su*a superfitie; E la prova vedrai a torSre
vna palla d'oro brunito, posta ne! 6 le tene-
bre, con vn lume da lei remoto, ?il quale
ancorache esso allumini circa 8 la meta d' essa
palla, 1'ochio non lo uede, se no 9 in piccola
parte della sua superfitie, e tut I0 to il resto
di tal superfitie spechia le tenebre "che
la circudano, e per questo in lei solo appa-
I2 risce il simulacro del lume e tutto il re I3 sto
rimane invisibile, stando 1'ochio remo^to
da tal palla; Questo medesimo interue-
"Srrebbe nella superfitie della luna, essendo
po l6 lita, lustra e densa, come son corpi
che spe T 7chiano;

OF THE MOON AND WHETHER IT IS POLISHED
AND SPHERICAL.

The image of the sun in the moon is
powerfully luminous, and is only on a small
portion of its surface. And the proof may
be seen by taking a ball of burnished gold
and placing it in the dark with a light at
some distance from it; and then, although
it will illuminate about half of the ball, the
eye will perceive its reflection only in a small
part of its surface, and all the rest of the surface
reflects the darkness which surrounds it; so
that it is only in that spot that the image of the
light is seen, and all the rest remains invisible,
the eye being at a distance from the ball. The
same thing would happen on the surface of the
moon if it were polished, lustrous and opa-
que, like all bodies with a reflecting surface.

oppacho. 18. sella . . assito. 20. onno. 21. essella. 22. partichulare cho. 24. cha. 25. nosstri. 27. essella. 28. imezzo.
29. dissciede. 30. eppiu. 33. essella . . eppiu. 35. solita . . trasspare. 36. delle chose . . gradezze [chessendo] posste.
37. disstatia adissta.

893. i. esselle. 2. illei. 3. picliola. 4. attor. 6. dallei. 8. noluede. 9. pichola . . ettu. n. chella circuda . . illei . . apa.
12. ettutto. 14. dattal. 15. rebe. 16. lusstra . . chesspe. 19. settu. 21. ini. 24. pa. 27. cheffa. 30. col inel si. 34. po.

26. The problem here propounded by Leonardo formulated the law of universal attraction and gravi-
was not satisfactorily answered till Newton in 1682 tation. Compare No. 902, lines 5 15.

I 5 6

ASTRONOMY.

[8 94 . 895.

18 Prova tu ''come, se tu *stessi nella
"luna oin una "Stella, *Ma nostra a nerra
ti jjar'Jra far Pu' 6 fitio col so 2 ?le che fa la
'Muna;

a E prova Jcome in nel si^'mulacro
J'del sole nel "mare no 34p U 6 parere ^ 5 vn
sole co- 6 me pare in u^no spechio pi3 8 ano.

Show how, if you were standing on the
moon or on a star, our earth would seem to
reflect the sun as the moon does.

And show that the image of the sun in
the sea cannot appear one and undivided,
as it appears in a perfectly plane mirror.

Ath. I. io<)

894.

Come 1'onbre si cofondono per iQnga
distatia, * si prvova nel' obra della luna che
in.ii Jsi vede.

How shadows are lost at great distances,
as is shown by the shadow side of the
moon which is never seen.

Br. M. 280]

895-

O la luna a lume da se 2 o no; s'ell' a
lume da se, per^che non risplende sanza
Paiuto del sole?
e s'ella s n on a
lume da se, ne-
cies 6 sita la fa spe-
chio sperico; ?e
se ella e spechio,
non e prova 8 to
in prospettiua
Hche '1 sinVula-
cro d'unoobbiet-
to Iumi 10 noso no
sara mai equale
alia "parte di
quello specchio
che da esso lu-
minoso e ' ^illu-
minate ?He secosl
e, come 'Jmostra
qui la figura in r
s, do'^de uie
tanta quantita di
splendo'Sre che a
il plenilunio, che
noi ve l6 diamo
nella quinta deci-
ma della '7 luna?

Either the moon has intrinsic luminosity
or not. If it has, why does it not shine without

the aid of the sun?
But if it has not
any light in itself
it must of neces-
sity be a spherical
mirror ; and if it
is a mirror, is it
not proved in Per-
spective that the
image of a lumi-
nous object will
never be equal to
the extent of sur-
face of the reflec-
ting body that it
illuminates ? And if
it be thus [13], as
is here shown at
r s in the figure,
whence comes so
great an extent of
radiance as that
of the full moon
as we see it, at the
fifteenth day of
the moon?

J5. vn sole. 36. pare nti 37. no spechio. 38. anano.

894. i. chofondono. 2. dela.

895. i. Olla . . allume dasse. 2. onno. 3. risplde. 4. essella. 6. dasse. 8. essello spechio. 9. prosspecdva. 13. parte "di
quello spechio" che . . he. 13. esse.

894. Compare also Vol. I, Nos. 175 179.

95- 13- At A, in the diagram, Leonardo wrote "sole" (the sun), and at B "luna o noi terra" (the moon
or our earth). Compare also the text of No. 876.

896.]

THE MOON.

157

Br. M.

896.

DECLA LUNA.

OF THE MOON.

2 La luna non a lume da se, se no
quato ne vede il sole tanto 1'allumina,
3 della qual luminosita tanto ne vediamo
quato e quella che vede noi; ^E la sua
notte ricieve tanto di spledore, quato e
quello che li preSstano le nostre acque nel
refletterli il simulacro del sole , che in
6 tutte quelle che vedono il sole e la luna,
si spechia; 1 La pelle over superfitie del-
1' acqua, di che si copone il mare della luna
e il 8 mare della nostra terra, e senpre
rugoso, 9o poco o assai, o piu, o meno, e
tale rugosita e cavsa di dila I0 tare 1'innu-
merabili simulacri del sole, che nei colli e
cocavita e la 1 Hi e froti delle innumerabili
rughe si spechiano, cioe in tati vari siti di
ciascuna 12 ruga quato son vari li siti che
anno li ochi che le vedono, jl che ac^ca-
dere no potrebbe, se la spera dell' acqua,
che I gra parte di se veste la ^luna fusse
d'uniforme spericita, perche allora il simu-
lacro del I5 sole sarebbe uno a ciascuno
occhio, e la sua reflessione sarebbe particu-
I6 lare e senpre sarebbe spledore sperico,
come manifestame 1 7te ci assegnano le palle
dorate, poste nelle sommita delli alti edi-
fiti; Ma l8 se tali palle dorate fussino rugose
o globuleti come son le mo^re, frutti neri
conposti di minute globosita rotonde, allora
ciascuna delle parti d'essa 20 globosita, ve-
dute dal sole e dall'ochio, mostrera a esso
ochio il lustro 2I gienerato dal simulacro
d'esso sole, e cosl in u medesimo corpo si
ue 22 drebbero molti minimi soli, li quali
spesse so le volte che per lunga distatia
2 3si uniscono e paiono cotinuati; E !1 lustro
della lunanuova e piu lucido e piu 24 potete
che quado e in plenilunio, e questo si ca-
2 s vsa perche 1' angolo della incidetia e molto
piu ottuso nella luna nuo 26 va che nella
vecchia, doue tali angoli sono acutissimi;
e 1'onde della 2 ?luna spechiano il sole cosl
nelle lor ualli come nelli colli, e li lati
28 restano oscuri ; ma ne' lati della luna li
fondi dell'onde non 2 9 vedono il sole, ma

The moon has no light in itself; but so
much of it as faces, the sun is illuminated, and
of that illumined portion we see so much
as faces the earth. And the moon's night
receives just as much light as is lent it by our
waters as they reflect the image of the sun,
which is mirrored in all those waters which
are on the side towards the sun. The out-
side or surface of the waters forming the
seas of the moon and of the seas of our
globe is always ruffled little or much,
or more or less and this roughness causes
an extension of the numberless images of
the sun which are repeated in the ridges and
hollows, the sides and fronts of the innu-
merable waves; that is to say in as many
different spots on each wave as our eyes
find different positions to view them from.
This could not happen, if the aqueous sphere
which covers a great part of the moon were
uniformly spherical, for then the images of
the sun would be one to each spectator,
and its reflections would be separate and
independent and its radiance would always
appear circular; as is plainly to be seen in
the gilt balls placed on the tops of high
buildings. But if those gilt balls were rugged
or composed of several little balls, like mul-
berries, which are a black fruit composed of
minute round globules, then each portion of
these little balls, when seen in the sun,
would display to the eye the lustre resulting
from the reflection of the sun, and thus, in
one and the same body many tiny suns
would be seen; and these often combine at a
long distance and appear as one. The lustre of
the new moon is brighter and stronger, than
when the moon is full; and the reason of
this is that the angle of incidence is more
obtuse in the new than in the full moon, in
which the angles [of incidence and reflection]
are highly acute. The waves of the moon
therefore mirror the sun in the hollows of
the waves as well as on the ridges, and the
sides remain in shadow. But at the sides

896. 2. dasse, 3. vedano . . ecquella . . vede. 4. Ella . . chelli pres. 5. nosstre acque . . refretterli. 6. vedano . . elluna si
sspechia. 7. dichessi . . luna edel. 8. [la nostra luna] mare . . nosstra . . essenpre rughoso. 9. oppocho . . oppiu omeno
ettale rughosita e chausa. 10. ine cholli e chochavita ellati. n. ti effrote "delle inumerabili" rughe sisspechiano . . cias-
scuna. 12. rugha . . che ali . . chelle vedano. 13. chadere . . sella . . achq"a" . , vesste. 14. luno fussi. 15. uno "accias
cuno ochio" ella . . refressione . . partichu. 16. essenpre . . spericho chome. 17. asegnia. 18. ssettali . . rughose o
globbuleti chome. 19. "neri" chonposti . . "rotonde" allora ciasscuna "delle parte". 20. globbosita . . mossterra. 2i.chosi
nun . . chorpo. 22. derebbe . . lungha disstatia. 23. vnisschono eppaiano chotinuati . . eppiu cido epiu. 24. pleniunnio
ecquesto . . cha. 25. langholo. 26. vechia . . tale angholi . . achutissimi ellonde. 27. chosi . . chome . . cholli elli.
28. resstano osschuri. 29. vedano . . massolo vede . . quessto. 30. choll . . ettal. 31. elluminose chosi . . infussi venghano.

1 5 8

ASTRONOMY.

[896.

solo uedono le cime d'esse ode, e per
questo li simuHacri son piu ran e piu
misti coll'onbre delle valli, e tal mistiorie
J'delle spetie obrose e luminose, cosl in-
sieme infuse, vengono all'oJ'chio co poco
spledore, e nelli stremi sara piv oscure per
essere ^la curuita de' lati di tale ode in-
suffitiete a riflettere all'ochio li riJ'cievuti
razzi; La luna nova per natura riflette li
3Srazzi solari piu inverse 1'ochio per tali

of the moon the hollows of the waves do
not catch the sunlight, but only their crests;
and thus the images are fewer and more
mixed up with the shadows in the hollows;
and this intermingling of the shaded and
illuminated spots comes to the eye with a
mitigated splendour, so that the edges will
be darker, because the curves of the sides
of the waves are insufficient to reflect to the
eye the rays that fall upon them. Now
the new moon naturally reflects the solar
rays more directly towards the eye from the

ode streme, ^ 6 che per nessuno altro loco,
come mostra la figura delta luna che
37percuotedo con razzi a nell'onda b riflette
in b d, dou' e situa^to 1'ochio d\ E questo
accadere no puo nel plenilunio dove ^ 9 il
razzo solare, stando all'occidete, percuote
1'onde streme della *luna alPoriete dal n
in in, e non riflette inverso 1'oc^'chio occi-
detale, ma risalta aU'oriete, poco piegado
la rettitu* 2 dine d'esso razzo solare, e cosi
1' angolo della incidetia e grossissimo.

La luna e corpo
opa 44 co e solido, e se
per lo a^Sversario ella
fusse traspa* 6 rente, ella
no ricieverebbe 47 il lume
del sole.

* 8 I1 rossume over tu-
orlo dell'o^vo sta sin
mezzo al suo als'bume
sanza discedere S2 d'alcuna
partc, ed 6 is^v lieve o

crests of the waves than from any other part,
as is shown by the form of the moon, whose
rays a strike the waves b and are "reflected
in the line b d, the eye being situated at d.
This cannot happen at the full moon, when
the solar rays, being in the west, fall on the
extreme waters of the moon to the East
from n to m, and are not reflected to the
eye in the West, but are thrown back east-
wards, with but slight deflection from the
straight course of the solar ray; and

thus the
indeed.

angle of incidence is very wide

piu grave o equale d' esso 54 albume ; e s' elli e
piu lisseve egli doverebbe surgie5 6 re sopra
tutto I' albume e "fermarsi in cotatto del-

The moon is an opa-
que and solid body and
if, on the contrary, it
were transparent, it would
not receive the light of
the sun.

The yellow or yolk
of an egg remains in the
middle of. the albumen,
without moving on either
side ; now it is either lighter
or heavier than this albumen, or equal to it; if
it is lighter, it ought to rise above all the
albumen and stop in contact with the shell

32. cho pocho . . osschure. 3;. churuita . . arefrettere. 34. razza da qual chosa la luna . . refrette. 35. razi . . tale.
36. locho . . mosstra la fighura. 37. pcrcho tendo cho razi b e refrette. 38. Ecquesto achadere . . dove j| o. 39. razo
solare [que] perchote stando allocidete perchote lonte. 40. refrette. 41. pocho pieghado. 42. chosi langholo. 43. chorpo.
44. cho cssolido esse. 45. e fussi. 46. cno. 49. sta [in in a! piu delle). 50. [volte] in. 51. dissciedere. .52. dalchuna.
53. grcve "o equale" desso. 54. essclli. 55. eve edovere vwirgie. 57. chotratto. 58. la [sua scho] scho'rza. 59. hovo

896. 48-64. Compare No. 861.

897-]

THE MOON.

159

s 8 la scorza d'es 59 so uovo, e s'elli e piu
60 grave doverebbe di 6l sciedere, e s'egli e
equa 62 le cosl potrebbe stare 6 3nell'v delli
stremi, co 64 me in mezzo o disotto;

6 5L'mvmerabili simulacri 66 che dalle in-
numerabili onde del ma 6 ?re reflettono li
Sola 68 ri razzi, in esse onde percos 6 9si, son
causa di re7dere cotinuato e larghissi 7I mo
spledore sopra la superfitie ? 2 del mare.

of the egg; and if it is heavier, it ought to sink,
and if it is equal, it might just as well be
at one of the ends, as in the middle or
below [54].

The innumerable images of the solar rays
reflected from the innumerable waves of the
sea, as they fall upon those waves, are what
cause us to see the very broad and continuous
radiance on the surface of the sea.

Br. M. 104 a]

8 97 .

[Come no si puo spechiare il sole nel That the sun could not be mirrored in the

corpo 2 della luna, essendo spechio colmo, body of the moon, which is a convex mirror,

esselli. 60. dis. 61. esselli. 62. chosi. 63. cho. 64. dissotto. 66. cheddalle. 67. refrettano dalli. 68. razi . . perchos.
69. se son quelli chausa. 70. chotinuato ellarghissi. }

897. i. po. 3. chettanto . . nalumina. 4. nesspechi. 5. avessi la superfitie che atta asspechiare. 6. cheffussi. 7. emmosso dal-

897. In the original diagrams sole is written at the place marked A; luna at C, and terra at the
two spots marked B.

i6o

ASTRONOMY.

[8 9 8.

in moJdo che tanto quanto esso sol ne
allumina, tanto essa luna ne specchia, se
g& tal luna snon avesse la superfitie alta
a specchiare, 6 che fusse rugosa, a vso di
superfitie di mare, ?quando in parte e
mossa dal uento]-

'[L'onde dell' acqua crescono 9 il simu-
lacro della cosa I0 in lei specchiata].

11 Quest' onde fanno per o I2 gni linia a
similitu'^dine della spoglia del' 4 la pina.

sQueste son 2 figure sicche l6 faraile
Tuna di versa dall' altra, '7 coll' acqua
>8 ondeggiante e coll' acqua piana.

'InpossibiPe 20 che per alcuna distantia
il "simulacro del sple, "fatto nella super-
fitie a -*del corpo sperico, occupi 24 la meta
d'esso sperico;

2 s Qui tu ai a provare, come la terra fa
tutti 26 questi medesimi ofiti inverse la luna
che 27 la luna inverse la terra;

28 No luce la luna col suo lume riflesso
come 2 9fa il sole, perche il lume della luna
non piglia *i\ lume del sole continue in
nel^'la superfitie, ma in su colmi e cayi
del^le onde delle acque, e per esser tal
sole nella 33 luna cofusamente spechiato per
le mi^stioni delle onbre, che sono infra
J5 1' onde che lustrano, percio non e 3 6 il suo
lume lucido e chiaro 37 CO m'e '1 sole.

3 8 Terra infra la luna in qulta decima e
il sole; &Qm [\ so le e nel levante e la luna
in ponente in qulta decima; 4 luna infra
la terra in qulta decima e il sole; 4I Qui e
la luna che a il sole per ponete e la terra
per levate.

in such a way as that so much of its surface
as is illuminated by the sun, should re-
flect the sun unless the moon had a sur-
face adapted to reflect it in waves and
ridges 4 like the surface of the sea when its sur-
face is moved by the wind.

The waves in water multiply the image
of the object reflected in it.

These waves reflect light , each by its own
line, as the surface of the fir cone does [14].

These are 2 figures one different from
the other; one with undulating water and the
other with smooth water.

It is impossible that at any distance the
image of the sun cast on the surface of a
spherical body should occupy the half of
the sphere.

Here you must prove that the earth pro-
duces all the same effects with regard to the
moon, as the moon with regard to the earth.

The moon, with its reflected light, does
not shine like the sun, because the light of
the moon is not a continuous reflection of
that of the sun on its whole surface, but
only on the crests and hollows of the waves
of its waters; and thus the sun being con-
fusedly reflected, from the admixture of the
shadows that lie between the lustrous waves,
its light is not pure and clear as the sun is.

[3 8] The earth between the moon on the
fifteenth day and the sun . [3 9] Here the
sun is in the East and the moon on the
fifteenth day in the West. [40] The moon
on the fifteenth [day] between the earth and
the sun. [41] Here it is the moon which has
the sun to the West and the earth to the East.

A. 64 a]

898.

CHE COSA E LA LUNA.

WHAT SORT OF THING THE MOON is.

2 La luna non e luminosa per se , ma
bene atta a ricievere la natura della
luce -J a similitudine dello spechio e del-
1* acqua o altro corpo lucido , e crescie nel-
Poriete 4 e occidete come il sole e gli altri
pianeti ; E la ragione si e che ogni corpo

The moon is not of itself luminous, but
is highly fitted to assimilate the character of
light after the manner of a mirror, or of
water, or of any other reflecting body; and it
grows larger in the East and in the West,
like the sun and the other planets. And
the reason is that every luminous body looks

ucncto. 8. acq"a" cresscano. xo. illei. 12. assimilitu. 13. spoglia de siche. 16. fara le luna disspersi. 17. acqua [ondosa]

18. ondegiante dallacq"a". ax. siimularcro. 23. ochupi. 28. refresso. 32. acq"e". 34. chessono. 35. lusstrano pero.

38. infralla . . decima il tole. 39. Ogni el . . "po"nente ella luna illeuante. 40. infralla . . decima il sole. 41. ella per-
Icufuc ella terra per ponete.

898. i. choia ella. 2. none. 3. assimilitudine . . acq"a" . . cho'Vpo . . ecresscie. 4. chome . . chorpo. 5. cresscie Chiaro . .

14. See the diagram p. 145.

38. This refers to the small diagram placed be-
tween B and B. 39. See the diagram below the
one referred to in the preceding note.

40. 41. Refers to the diagram below the others.
898. This text has already been published by
LlBRl: Histoire des Sciences, III, pp. 224, 225.

8 9 9-]

THE MOON.

161

luminoso s quato piv . s' allon-
tana piv cresce ; Chiaro si
puo copredere che ogni pia-
neta e ste! 6 la e piv lontano
da noi nel ponete . che quado-
ci e sopra capo , circa 3 500, per
la pruova se 7 gniata da parte ,
e se uedi spechiare- il sole o la
luna nelF acqua che ti sia vicina,
8 paratti in detta

acqua della gra-
dezza che ti pare

in cielo; E se
t'allontanera i- vno
9 miglio parra
maggiore i oo vol-
te, e se lo vedrai
spechiare I mare

10 nel tramotare il sole spechia-
to-ti- parra grade- piv di 10
miglia, per^che occupera in det-
ta spechiatione piv di 10 miglia

di marina , e se tu fussi I2 dov'e
la luna parrebbe ti esso sole
spechiarsi in tato mare quato
egli^n'allumina alia giornata , e
la terra parrebbe infra detta
aqua come pajono le ^macchie
scure che sono in nella luna ,
la quale stado in terra si dimo-
stra ta'sle agli omini, qual
farebbe agli omini che abitassi-
no nella luna il nostro l6 mon-
do apputo.

larger in proportion as it is re-
mote. It is easy to understand
that every planet and star is
farther from us when in the
West than when it is overhead,
by about 3500 miles, as is pro-
ved on the margin [7], and if you
see the sun or moon mirrored in
the water near to you, it looks
to you of the same
size in the water
as in the sky. But
if you recede tothe
distance of a mile,
it will look 100
times larger; and
if you see the sun
reflected in the sea
at sunset, its image would look
to you more than 10 miles long;
because that reflected image ex-
tends over more than 10 miles
of sea. And if you could stand
where the moon is, the sun would
look to you, as if it were reflec-
ted from all the sea that it illumi-
nates by day; and the land amid
the water would appear just like
the dark spots that are on the
moon, which, when looked at
from our earth, appears to men
the same as our earth would- ap-
pear to any men who might dwell
in the moon.

DELLA QUALITA BELLA LUNA. OF THE NATURE OF THE MOON.

18 La luna quado e tutta lu-
minata al nostro vedere, noi ve-
diamo tutto il suo ^giorno, e
allora per riflessione de' razzi
del sole, percossi in lei e risal-
tati a noi, 20 l'ocieano suo ci
gitta meno vmidita, e quato me
e luce piv noce.

When the moon is entirely light-
ed up to our sight, we see its
full daylight; and at that time,
owing to the reflection of the so-
lar rays which fall on it and are
thrown off towards us, its ocean
casts off less moisture towards us ;
and the less light it gives the
more injurious it is.

Leic. 30 a]

899.

DELLA LUNA.

OF THE MOON,

2 Dico che non avendo la lu-
na lume da se, essendo lumino-
sa, egl' e necessario che tale
lume 3 sia causato da altri.

I say that as the moon has no
light in itself and yet is luminous,
it is inevitable but that its light
is caused by some other body.

chopledere . . esste. 6. da "ndi" . . chapo '. circha. 7. esse . . oluna . . chetti. 8. acq"a" . . gradeza chetti . . Essettalonta-
nera. 9. parira magiore . . essello vederai . . mare [il sole]. 10. [spe] nel . . para. n. ochopera . . essettu. 12. parebbeti
. . inquato. 13. nalumina . . ellatera parebe . . achva chome pare. 14. mache schure chessono inella . . qual. 15. farebe
alia. 16. acputo. 19. refressione razi . . perchossi illei. 8gg. 2. dicho . . dasse . . chettale. 3. sie chausato.

Line 7 refers to the first diagram. A = sole (the sun), B = terra (the earth), C = luna (the moon).
VOL. 11. X

162

ASTRONOMY.

[900902.

goo.

DELLA LUNA.

OF THE MOON.

Tutte le cotradizioni dell' auersario a
dir che nella luna non e acqua.

All my opponent's arguments to say that
there is no water in the moon.

Leic.

901.

Risposta a maestro Andrea da Imola,
che disse come H razzi solari riflessi dal
corpo dello spechio convesso si confondono
2 e si consumano in brieue spatio, e che per
questo si negaua al tutto la parte luminosa
della luna non essere di natu'ra di spechio,
e per consequenza non essere nato tale
lume dalla innvmenabile moltitudine del-
1'onde di quel 4 mare, il quale io proponeuo
essere quella parte della luna che s' allumi-
nava per li razzi solari;

s o p sia il corpo del sole, ens sia la
luna, b sia 1'ochio, che in su la basa c n
del cateto c n m vede spechia 6 re il corpo
del sole infra li equali angoli c //, e ' 1 simile
fa remouendosi 1'ochio da b in a.

Answer to Maestro Andrea da Imola, who
said that the solar rays reflected from a
convex mirror are mingled and lost at a short
distance; whereby it is altogether denied that
the luminous side of the moon is of the
nature of a mirror, and that consequently
the light is not produced by the innumer-
able multitude of the waves of that sea,
which I declared to be the portion of the
moon which is illuminated by the solar
rays.

Let op be the body of the sun, en s the
moon, and b the eye which, above the base
c n of the cathetus c n tn, sees the body
of the sun reflected at equal angles en; and
the same again on moving the eye from b to a.

Leic. 2 a]

Q02.

DELLA LUNA.

H'Nessun denso e piv lieue che 1'aria.

^Avendo noi provato come la parte

della luna che risplende e acqua, che

Explanation spechia il corpo del sole, 4 la quale ci rif-

of the lumen i . i i j j i r^

cinereum in lette Io splendore da lui ncevuto ; h. come,
the moon. se { a | e ac q ua f u sse sanza ode, ch' ella 5 pic-
cola si dimostrerebbe, ma di splendore
quasi simile al sole; Al presente bisognia
provare, se essa luna e corpo grave o lieve,
inperoche se fusse grave, confessando che
dalla terra in su in ogni grado d'altez?za
s'acquista gradi di leuita, cociosiache
P acqua e piu lieue che la terra, e Paria
che 1' acqua, c'l foco che 1'aria, e cosl
8 seguitando successiuamete, e'parrebbe che,
se la luna auesse densita com' ella a, ch' ella
auesse gravita, e avedo 9 gravita che Io

OF THE MOON.

No solid body is less heavy than the at-
mosphere.

Having proved that the part of the moon
that shines consists of water, which mirrors
the body of the sun and reflects the radiance
it receives from it; and that, if these waters
were devoid of waves, it would appear
small, but of a radiance almost like the sun ;
[5] It must now be shown whether the
moon is a heavy or a light body: for, if it
were a heavy body admitting that at every
grade of distance from the earth greater
levity must prevail, so that water is lighter
than the earth, and air than water, and fire
than air and so on successively it would seem
that if the moon had density as it really has,
it would have weight, and having weight,
that it could not be sustained in the space

2. essi. 3. disspechio e per chonsegucnza . . inumerabile. 4. chessa-

900. 2. acqu"a".

901. i. raii . . refressi . . chonvesso . . confondeano.
luminava . . razi . . lochio di.

got. 2. chcllaria. 3. chome . . rissplcndc. 4. refrette . . dallui ricevuti . . ssettale acq"a" fussi . . chel. 5. pichola . . dimoster-
"r"ebe. 6. ollicve . . fussi . . dalte. 7. concosiachellacq"a" . . piv . . chella . . chellacq"a" . . focho chellaria. 8. eparebe
chcssella auessi . . chomclla cfiella auessi . . avdo. 9. chello . . ouessa . . nolla potessi sosstenere . . chon . . auessi a disscendere.

900. The objections are very minutely noted
down in the manuscript, but they hardly seem to
have a place here.

901. The large diagram on the margin of page
161 belongs to this chapter.

902. i! On the margin are the words tola ro~
mantina, tola - ferro stagnato (tinned iron); romantina
is some special kind of sheet-iron no longer known
by that name.

902.]

THE MOON.

163

spatio, ove essa si troua, non la
potesse sostenere, e per conse-
gueza avessea discendere I0 in-
verso il centre dell' universe,
e congiugnersi colla terra, e
se no lei, al maco le sue
acque aues zi sino a cadere e
spogliarla di se e cadere in-
verse il cetro e lasciar di se
la luna spogliata e sanza lu-
I2 stro; ode, no seguitando
quel che di lei la ragione ci
promette, egli e manifesto
segno che tal luna e vestita
de'sua ^ elemeti, cioe acqua,
aria e foco, e cosi in se, per
se si sostenga in quello spatio
come fa la nostra ter^ra coi
sua elemeti in quest' altro spa-
tio, e che tale ofitio faccino
le cose gravi ne' sua eleme-
x s ti, qual fanno 1' altre cose
gravi nelli elemeti nostri.

16 Quando 1' ochio in oriete
vede la luna in occidente vi-
ciria al tramotato sole, esso
la vede J 7 colla sua parte on-
brosa circundata da parte lu-
minosa, del quale lume la parte
laterale l8 e superiore deriua
dal sole, e la parte inferiore
deriva dallo oceano occiden-
tale, il qual ^ancora lui riceue
li razzi solari e li riflette nelli
inferior! mari della luna, e an-
cora per 20 tutta la parte
obrosa della luna da tanto
di splendore, qual'e quel che
da la luna alia terra nella
mez 2I zanotte, e percio no
resta integralmete scura, e di
qui a alcuno creduto, che la
"luna abbia in parte lume
da se oltre a quel che gli e
dato dal sole, il quale lume
diriua dalla ati 2 ^detta causa
delli nostri mari alluminati
dal sole.

2 *Ancora si potrebbe dire
che'l cerchio dello splendore

where it is, and consequently
that it would fall towards the
centre of the universe and be-
come united to the earth; or
if not the moon itself, at least

its waters would fall away and
be lost from it, and descend
towards the centre , leaving
the moon without any and so
devoid of lustre. But as this
does not happen, as might in
reason be expected, it is a
manifest sign that the moon is
surrounded by its own elements:
that is to say water, air and
fire; and thus is, of itself and
by itself, suspended in that
part of space, as our earth
with its element is in this part
of space; and that heavy bo-
dies act in the midst of its
elements just as other heavy
bodies do in ours [15].

When the eye is in the
East and sees the moon in
the West near to the setting
sun, it sees it with its shaded
portion surrounded by luminous
portions ; and the lateral and
upper portion of this light is
derived from the sun, and the
lower portion from the ocean
in the West, which receives
the solar rays and reflects them
on the lower waters of the
moon, and indeed affords the
part of the moon that is in
shadow as much radiance as
the moon gives the earth at mid-
night. Therefore it is not to-
tally dark, and. hence some
have believed that the moon
must in parts have a light of its
own besides that which is given
it by the sun ; and this light is due,
as has been said, to the above-
mentioned cause, that our seas
are illuminated by the sun.

Again, it might be said
that the circle of radiance

spoglata essanza lus. 12. ragon . . "segno" chettal. 13. cc

esse . . macho, n. chadere . . ellasscia . .

15. This passage would certainly seem to establish discoverer of the cause of the ashy colour of the
Leonardo's claim to be regarded as the original new moon (lumen dnereum). His observations

164

ASTRONOMY.

[902.

la quale

che fa la luna, quand'el'e col sole in 'Socci-
dente, dirivassc dal sole integralmente ,
quando essa col sole e coll' ochio e situata
nel a6 modo che qui disopra si dimostra.

2 ?Alcuni potrebbero dire che
1'aria, elemcto della luna, pi-
gliando il lume del sole, come
fa la no a8 stra spera dell' aria,
fusse quella che finisce il cer-
chio luminoso al corpo della
luna.

'Alcuni an creduto che la
luna abbia alquanto di lume da
se, la quale ope3nione e falsa,
perche 1'anno fondata sopra quel
chiarore che si uede in mezzo ali
3'corni quando la luna e nova
alii confini dello splcndore pare oscura,
3*e al confine della oscurita del campo
pare si chiara, che molti credono essere
33 vn cerchio di nouo splendore, che finisca
di circundare, doue le punte de' corni 34 a l-
luminati dal sole terminano il loro splen-
dore; e questa varieta di campo nasce
35 perche quella parte d'esso campo, che
termina colla parte luminosa della luna,
per tal 3^paragoHe di splendore si dimon-
stra piv oscura che non e, e quella parte di
sopra, doue 3 7 pare vn pezzo di cerchio
luminoso d'uniforme larghezza, nasce che
quiui la luna, essendo piu chiara che
3 8 il mezzo over il campo, oue essa si troua;
pel parago di tale oscurita si dimostra in
tale confine piv lu^minosa che non e, la
qual luminosita in tal tenpo nasce dal
nostro oceano colli altri mediterrani 4 che
in quel tepo e alluminato dal sole che gia
e tramotato, in modo che il mare allora fa
tale ofitio alia 4I parte oscura della luna,
qual fa la luna in qulta decima a noi,

shown by the moon when it and the sun
are both in the West is wholly borrowed
from the sun, when it, and the sun, and
the eye are situated as is shown above.

Some might say that the air
surrounding the moon as an ele-
ment, catches the light of the
sun as our atmosphere does, and
that it is this which completes
the luminous circle on the body
of the moon.

Some have thought that the
moon has a light of its own, but
this opinion is false, because they
have founded it on that dim light
seen between the homes of the
new moon, which looks dark where it is close
to the bright part, while against the darkness
of the background it looks so light that many
have taken it to be a ring of new' radiance
completing the circle where the tips of the
horns illuminated by the sun cease to shine [3 4].
And this difference of background arises from
the fact that the portion of that background
which is conterminous with the bright part
of the moon, by comparison with that bright-
ness looks darker than it is; while at the
upper part, where a portion of the luminous
circle is to be seen of uniform width, the re-
sult is that the moon, being brighter there
than the medium or background on which it
is seen by comparison with that darkness it
looks more luminous at that edge than it is.
And that brightness at such a time itself is de-
rived from our ocean and other inland-seas.
These are, at that time, illuminated by the
sun which is already setting in such a way as
that the sea then fulfils the same function
to the dark side of the moon as the moon
at its fifteenth day does to us when the

chuni potrebono . . chellaria . . piglando ilume. 28. fussi . . finissi. 29. alchuni . . chella . . dasse. 30. effalsa . . fondato
. . chessi . . mezo. 31. quandella . . il quale alii . . osscuro. 32. osscurita . . molte credano . . 33. finissca di circhundare.
34. ecquesta . . canpo nassce. 35. chettermina. 36. hosscura . . nonne ecquella. 37. pezo . . largeza nassce. 38. mezo over
chanpo. 39. nassce . . occcano coli . . mediterani. 40. ga. 41. osscura . . annoi qnadel . . ettal. 42. dacqucl pocho . .

however, having hitherto remained unknown to
astronomers, Moestlin and Kepler have been credited
with the discoveries which they made independently
a century later.

Some disconnected notes treat of the same sub-
ject in MS. C. A. 239 b ; 7igb an d 7i 9 b : "Perche la
luna cinta della parte alluminata dal sole in ponente,
tra maggior- splendore in mezzo a tal cerchio, che quando
essa eclissava il sole. Questo accade perche <//' eclissare
il sole ella ombrava il nostro oceano, il qual caso non
Of cade essendo in ponente, quando il sole alluma esso
oceano. n The editors of the "Saggio" who first pub-
lished this passage (page 12) add another short

one about the seasons in the moon which I con-
fess not to have seen in the original manuscript:
"La luna ha ogni niese un verno e una state, e ha
maggiori freddi e maggiori caldi, e i- suoi equinozii son
piu freddi de' nostri"

23. 24. The larger of the two diagrams reproduced
above stands between these two lines, and the smaller
one is sketched in the margin. At the spot marked A
Leonardo wrote corpo solare (solar body) in the larger
diagram and Sole (sun) in the smaller one. At C
luna (moon) is written and at B terra (the earth).
34. See PI. CVIII, No. 5.

903. 904-]

THE MOON.

I6 5

quando il sol'e tramotato, e tal propor-
}2 tione e da quel poco lume che a la parte
oscura della luna alia chiarezza della parte
alluminata, qual e dalla . . .

43 Se uoi vedere 44qiianto la parte 45 on-
brosa della luna ^ 6 sia piu chiara che'l
4?canpo, ove tal luna si ^truova, occupa
col49la mano, o con altro sobietto piu di-
state s all'ocbio, la parte luS 2 minosa della
luna.

sun is set. And the small amount of light
which the dark side of the moon receives
bears the same proportion to the light of
that side which is illuminated, as that . . . [42].
If you want to see how much brighter
the shaded portion of the moon is than the
background on which it is seen, conceal the
luminous portion of the moon with your
hand or with some other more distant ob-
ject.

F. 84 a]

90S-

MACULE BELLA LUNA.

2 Alcuni dissero leuarsi da essa vapori
a modo di ^nugoli e interporrsi infra la
luna e li ochi no^stri; il che, se cosl fusse,
mai tali macule saresbbero stabili ne di
siti ne di figura, e vedendo la 6 luna in
diuersi aspetti, ancor che tal macule 7 no
fossero variate, esse muterebbero figura
come 8 fa quella cosa che si vede per piu
versi.

THE SPOTS ON THE MOON.

Some have said that vapours rise from On the
the moon, after the manner of clouds and ^L
are interposed between the moon and our
eyes. But, if this were the case, these spots
would never be permanent, either as to
position or form; and, seeing the moon
from various aspects, even if these spots did
not move they would change in form, as ob-
jects do which are seen from different sides.

spots

F. 84 1>\

904.

DELLE MACHIE BELLA LUNA.

2 Altri dissero che la luna era conposta
di parti piu $o me transparent}, come se
una parte fusse a modo 4 d' alabastro , e
alcuna altra a modo di cristallo o vetro,
5 che ne seguirebbe che '1 sole, feredo colli
sua razzi 6 nella parte me transparete, il
lume rimarrebbe in 7superfitie, e cosl la
parte piu densa resterebbe allu 8 minata, e
la parte transparete mostrerebbe le 9onbre
delle profondita sue oscure, e cosl si copo-
10 ne la qualita della luna; e questa opini-
one e "piaciuta a molti filosofi, e massime
a Aristotele, e I2 pure ella e falsa opinione,
perche ne' di^versi aspetti, che si trovano
spesso la luna e il so^le alii nostri occhi,
noi vedremmo variare tal ma^cule, e quando

OF THE SPOTS ON THE MOON.

Others say that the moon is composed
of more or less transparent parts; as though
one part were something like alabaster and
others like crystal or glass. It would
follow from this that the sun casting its rays
on the less transparent portions, the light
would remain on the surface, and so the
denser part would be illuminated, and the
transparent portions would display the shadow
of their darker depths; and this is their
account of the structure and nature of the
moon. And this opinion has found favour
with many philosophers, and particularly with
Aristotle, and yet it is a false view for, in
the various phases and frequent changes of
the moon and sun to our eyes, we should
see these spots vary, at one time looking
dark and at another light: they would be
dark when the sun is in the West and the

alia . . osscura . . ciareza. 48. ochupi. 49. chon. 50. distate ochu. 51. pi all.

903. 2. disse. 3. interprsi infralla . . elli . . nos. 4. fussi . . tal. 5. bon stabili. 6. chettal. 7. fusi variate . . muterebo.

8. chessi.

904. 2. chella . . parte. 3. transsparenti . . fussi. 5. cene . . coli. 6. rimarebbe. 7. resterrebbe. 8. ella . . mosterrebbe.

9. osscure. 10. ecquesto openione. n. piacuta . . massime aristotie e. 12. puere . . oppennione perche inne de. 13. asspetti
trauano . . esso. 14. vederem. 15. ecquando . . farebono osscure ecquando. 16. in o. 17. ella . . mezo. 18. transparete

42. Here the text breaks off; lines 43 52 are written on the margin.

166

ASTRONOMY.

[905.

si farebbono oscure, e quado chi l6 are; scure
si farebbono, quado il sole e in oc^cidete
e la luna nel mezzo del celo, che allora le
l8 cocauita transparcti piglicrebbono 1'onbre
in"sino alle sommita de' labbri di tal co-
cauita tras 20 pareti, perche il sole no potrebbe
l>enetrare li "sua razzi dentro alle boche
di tali cocauita, "le quali parrebbono chiare
nel plenilunio, 2 Jdoue la luna in oriete
guarda il sole alPoccidc'He; allora il sole
alluminerebbe insino ne' f6 2 sdi di tali trans-
paretie, e cosl, no generadosi 26 onbre, la
luna non ci mostrerebbe in tal tenpo 2 ?le
predette machie, e cosl ora piv ora meno,
2 *secondo le mutatio del sol dalla luna e
della Iu 2() na dai lochi nostri, come di sopra
dissi.

moon in the middle of the sky; for then the
transparent hollows would be in shadow as
far as the tops of the edges of those trans-
parent hollows, because the sun could not
then fling his rays into the mouth of the
hollows," which however, at full moon,
would be seen in bright light, at which time
the moon is in the East and faces the sun
in the West; then the sun would illuminate
even the lowest depths of these transparent
places and thus, as there would be no
shadows cast, the moon at these times
would not show us the spots in question;
and so it would be, now more and now
less, according to the changes in the position
of the sun to the moon, and of the moon
to our eyes, as I have said above.

F. 85 ]

90S-

DELLE MACULE DELLA LUNA.

2 Si e detto che le macule della luna
son create in essa luna, 3 da essere in se
di uaria rarita e desita, il che se cosl fusse,
*nell'eclissi della luna i razzi solan pene-
trebbono per s a lcuna parte della predetta
rarita, e, no si ueden 6 do tale efifetto, detta
opinione e falsa;

7 Altri dicono che la superfitie della luna,
esscndo tersa 8 e pulita, che essa, a simili-
tudine di spechio, riceue in 9 S e la simili-
tudine della terra; Questa openione I0 e
falsa, conciosiache la terra, scoperta dal-
1'acqua, per diuer"si aspetti a diuerse
figure; adunque, quando la luna I2 e al-
1' oriete, essa specchierebbe altre machie,
che quando essa ci e di sopra, o quado
essa e in occidete; pero I4 le machie della
luna, come si uede nel pleni-
lunio, J 5mai si uariano nel
moto da lei fatto nel nostro
emi' 6 sperio ; 2 a ragione e, che
la cosa specchia^ta nella con-
vessita piglia piccola parte d'
es l8 so spechio, com'e provato
in prospettiua; 3 a ragione ^li e, che nel
plenilunio la luna vede solo il mezzo 20 della

OF THE SPOTS ON THE MOON.

It has been asserted, that the spots on the
moon result from the moon being of varying
thinness or density ; but if this were so, when
there is an eclipse of the moon the solar
rays would pierce through the portions which
were thin as is alleged [5]. But as we do
not see this effect the opinion must be false.
Others say that the surface of the moon
is smooth and polished and that, like a mirror,
it reflects in itself the image of our earth.
This view is also false, inasmuch as the
land, where it is not covered with water,
presents various aspects and forms. Hence
when the moon is in the East it would
reflect different spots from those it would
show when it is above us or in the West;
now the spots on the moon, as they are
seen at full moon, never vary
in the course of its motion over
our hemisphere. A second reason
is that an object reflected in a
convex body takes up but a small
portion of that body, as is pro-
ved in perspective [i 8]. The
third reason is that when the moon is full,
it only faces half the hemisphere of the

piglierebcno. 19. somita dclabri. 21. razi. 22. parebono. 23. ocide. 24. alora. 26. mosterebbe. 28. ella lu.
905. 2. Esii detto chclle. 3. rareu . . chosi fussi. 4. razi . . peneterrebono. 5. rareta il ce no. 6. to tale . . oppenione effalsa.
7. dicano chella. 8. assimilitudine disspechio. 10. concosiache . . acq"a". n. asspecti. 12. spechierebe. 13. ocquado oci-
dete il che. 14. plenilunio che. 16. he chella . . spechi. 17. pichola . . de. 18. ragone. 19. mezo. 21. locean . . rsplen-

9<>5- 3 5- Edissi. This word, as it seems to
me, here means eclipses of the sun; and the sense
of the passage, as 1 understand it, is that by the
foregoing hypothesis tUe modn, when it comes be-

tween the sun and the earth must appear as if
pierced, we may say like a sieve.

18. come e pravato. This alludes to the accom-
panying diagram.

906908.]

THE MOON.

167

spera della terra alluminata, nella quale
2I l'oceano colle altre acque risplendono, e
la terra 22 fa macule in esso splendore, e
cosl si uedrebbe 23 la meta della nostra
terra cinta dallo splendo 2 ^re del mare allu-
minato dal sole, e nella luna tal 2 s simili-
tudine sarebbe minima parte d'essa luna;
26 4 a e che la cosa splendida non si spechia
nell'aP'tra splendida; adunque il mare,
pigliando splendo 28 re dal sole, siccome
fa la luna, e' no si potrebbe in lei spe-
2 9chiare tal terra, che ancora specchiar
non vi si vedesse 3 particularmete il corpo
del sole e di ciascuna ste! 3I la a lei op-
posta.

illuminated earth, on which only the ocean
and other waters reflect bright light, while
the land makes spots on that brightness;
thus half of our earth would be seen girt
round with the brightness of the sea lighted
up by the sun, and in the moon this
reflection would be the .smallest part of that
moon. Fourthly, a radiant body cannot be
reflected from another equally radiant; there-
fore the sea, since it borrows its brightness
from the sun, as the moon- does , could
not cause the earth to be reflected in it, nor
indeed could the body of the sun be seen
reflected in it, nor indeed any star opposite
to it.

Br. M. 19 a]

9O6.

Se terrai osseruate le particule delle
machie della luna, 2 tu troverai in quelle
spesse uolte gran varieta, e di questo $6
fatto pruova io ' medesimo disegnadole ; E
questo nasce da nuvo^li che si leuano dal-
F acque d'essa luna, li quali s'interpongo-
Sno infra '1 sole e essa acqua, e colla loro
onbra tolgo 6 no i razzi del sole a tale acqua,
onde essa acqua viene a ri^manere oscura,
per non potere spechiare il corpo solare.

' If you keep the details of the spots of
the moon under observation you will often
find great variation in them, and this I myself
have proved by drawing them. And this
is caused by the clouds that rise from the
waters in the moon, which come between
the sun and those waters, and by their
shadow deprive these waters of the sun's rays.
Thus those waters remain dark, not being
able to reflect the solar body.

Leic. 5 a]

907.

Come le mac 2 chie della luna 3 son va-
riate da *quel che gia fu s ro, per causa del
6 corso delle sue 7 acque.

How the spots on the moon must have
varied from what they formerly were, by
reason of the course of its waters.

C. A. 341(5; 1055*1]

908.

DE'CIERCHI DELLA LUNA.

2 Jo truouo che quelli cierchi , li quali
par che di notte circudino la luna di uarie
gradezze e grossezze, 3 sono causati da ua-
rie qualita di grossezze d' umori, i quali in
varie altezze infra la luna e li ochi 4nostri
sono situati ; E quel cierchio maggiore e
me rosso ed e nella prima parte piu bassa
di detti s umori, il secondo minore e piv
alto, e pare piv rosso, perch' e visto per

OF HALOS ROUND THE MOON.

I have found, that the circles which at On the
night seem to surround the moon, of various moons halo>
sizes, and degrees of density are caused by
various gradations in the densities of the vapours
which exist at different altitudes between the
moon and our eyes. And of these halos the
largest and least red is caused by the lowest of
these vapours; the second, smaller one, is
higher up, and looks redder because it is

dano elli. 24. aluminato. 25. luna c. 26. 4 * he chella . . splendita no si . . 27. splendita . . piglando. 28. si come fa la
luna e no . . illei. 29. speciar . . vedessi. 30. sole di ciasscuna. 31. allei opposita.

906. i. Setterrai. 2. troverrai. 3. offatto . . "disegnadole" Ecquesto nassce da nugho. 4. chessi . . sinterponga. 5. cholla . .
tolgho. 6. razi . . attale . . arri. 7. osscura.

907. 4. ga.

908. 2. circhudino . . gradeze e rosseza. 3. chausati . . grosseze domori . . alteze infralla . . elli. 4. nosstri . . Ecquel . .

i68

ASTRONOMY.

[909. 910.

2 umori-je cosi quanto 6 piv alti sieno,
minori c piv rossi apparirano, perche infra
1'ochio e quello fia piv solidi umori, ?e per
questo si pruova che doue apparisce mag-
giore rossore H e piv somma d' umori.

seen through two vapours. And so on, as
they are higher they will appear smaller and
redder, because, between the eye and them,
there is thicker vapour. Whence it is proved
that where they are seen to be reddest, the
vapours are most dense.

w. xx vn |

Come tu vuoi prouare, la luna mostrarsi
2 maggiore che essa non e, giugnendo al-
1'orizzonte; nu torrai vn ochiale colmo da
una superfitie e concauo dalla superfitie
opposita, e ticni 5 1'ochio dal concavo, e
guarda 1'obbietto fori 6 della superfitie con-
uessa, e cosl ?avrai fatto vn vero simile
8 ah" aria, che si include in^fra la spera del
foco e de^'lla acqua, la quale aria e II concaua
diuerso la terra e I2 conuessa diuerso il foco.

909.

If you want to prove why the moon
appears larger than it is, when it reaches
the horizon; take a lens which is highly
convex on one surface and concave on the
opposite, and place the concave side next
the eye, and look at the object beyond the
convex surface; by this means you will have
produced an exact imitation of the atmosphere
included beneath the sphere of fire and out-
side that of water; for this atmosphere is
concave on the side next the earth, and
convex towards the fire.

C. A. 187*; 561 a] 9 JO

Fa ochiali da vedere 2 la luna grande.

Construct glasses to see the moon mag-
nified.

magiore . . edella prima. 5. omori . . sechondo . . vissto . . omori e chosi. 6. infrallochio ecquello . . solidomori. 7. apa-
riscie magiore . . domori.

909. i. volli . . mosstrare. 2. magore . . gngnendo. 4. conchauo . . ettieni. 6. chonuessa e chosi. 7. arai. 8. chessi.
9. fralla . . focho chede. 12. focho.

910. See the Introduction, p. 136, Fracastoro quaedam specilla ocularia fiunt tantae dtnsitatis, ut si per

ays in his work Homocentres: "Per dua spirilla ea quis out lunam, aut aliud siderum spectel , adeo pro-

ocularia si yuis perspiciat, alteri altero superposito, ma- pinqua ilia iudicet, ut ne turres ifsas excedanl" (sect. II

jora multo et propinquiora videbil omnia. Quin imo c. 8 and sect. Ill, c. 23).

VI.
THE STARS.

5*1

911.

Veggonsi le stelle di notte e no di di,
per esser noi sotto 2 la grossezza dell' aria,
la quale e piena d' infinite particu3le d'umi-
dita, le quali, ciascuna per se quado e per-
cossa ^dalli razzi del sole, rendono splen-
dore, e cosl 1'inSnvmerabili spledori occupano
esse stelle, e se 6 tale aria no fusse, il celo
senpre ci mostrerebbe 7 le stelle nelle sua
tenebre.

(911913).

The stars are visible by night and not by o n the light
day, because we are beneath the dense L t ! le _
atmosphere, which is full of innumerable
particles of moisture, each of which inde-
pendently, when the rays of the sun fall upon
it, reflects a radiance, and so these number-
less bright particles conceal the stars; and if
it were not for this atmosphere the sky would
always display the stars against its darkness.

912.

- LE STELLE ANNO LUME DAL SOLE O
DA SE.

2 Dicono di auere il lume da se, alle-
gando 3che se Venere e Mercuric non
avessino ^il lume da se, quado essa s' inter-
pone infra spochio nostro e '1 sole, esse
oscurerebbero tan 6 to d'esso sole, quato
esse ne coprono al ochio ^ nostro ; E quest' e
falso, perch' e prouato 8 come 1'onbroso,
posto nel luminoso, e cinto e coper9to
tutto da razzi lateral! del rimanete di tal
lu I0 minoso, e cosl resta inuisibile, come si

WHETHER THE STARS HAVE THEIR LIGHT FROM
THE SUN OR IN THEMSELVES.

Some say that they shine of themselves,
alledging that if Venus and Mercury had not
a light of their own, when they come between
our eye and the sun' they would darken so
much of the sun as they could cover from
our eye. But this is false, for it is proved
that a dark object against a luminous body
is enveloped and entirely concealed by the
lateral rays of the rest of that luminous body
and so remains invisible. As may be seen

gix. r. vegasi lesselle. 2. grosseza. 3. ciasscuna . . rende. 4. cossi. 5. ochupano . . esse. 6. fussi . . mosterrebbe. 7. lesstelle.

QH. i. a lume. 2. dicano di havere . . dasse. 3. uenere e merchurio non auessi. 4. illume dasse . . infral. 5. oscurerebo.

6. coprano. 9. razi. 12. iluga. 13. ochupano. 15. acade. 16. esieno . . non o. 18. nosstro. Lines 19 and 20 are written

911. See Vol. I, No. 296, which also refers to
starlight.

912. From this and other remarks (see No. 902,
VOL. 11.

1. 34 &c.) it is clear that Leonardo was familiar with
the phenomena of Irradiation.

i ;o

ASTRONOMY.

[913.

di"mostra: quando il sole e veduto per la
ra"mificatione delle piate sanza foghe in
luga di'Jstantia, essi rami non occupano
parte al' 4 cuna d'esso sole alii ochi nostri ;
jl simile 'accade a' predetti pianeti, li quali
ancora l6 che da se sieno sanza luce, eglino
non oc^cupano, com' detto, parte alcuna
del sole l8 aH'ochio nostro.

SECONDA "PROVA.

"Dicono le stelle nella notte parere
lucidissime "quato piu ci so superiori,
e che, se esse no auessino lume 2 -3 da
se, che 1'ombra che fa la terra, che
s'interpone 2 fra loro e '1 sole, ver-
rebbe a scurarle, non vede'Sdo esse,
n sedo vedute dal corpo solare; Ma
* 6 questi non anno considerate, che
1'onbra piramidale de 2 ?lla terra non
aggiugne infra troppe stelle, e in
"quelle ch'ella aggiugne, la piramide
e tanto dimi 2 9nuita, che poco occupa
del corpo della stella; e '1 ri3manete e
alluminato dal sole.

when the sun is seen through the boughs of
trees bare of their leaves, at some distance
the branches do not conceal any portion of
the sun from our eye. The same thing
happens with the above mentioned planets
which, though they have no light of their
own, do not as has been said conceal any
part of the sun from our eye[i8].

SECOND ARGUMENT.

Some say that the stars appear most brilliant
at night in proportion as they are higher
up; and that if they had no light of
their own, the shadow of the earth which
comes between -them and the sun, would
darken them, since they would not face
nor be faced by the solar body. But
those persons have not considered
that the conical shadow of the earth
cannot reach many of the stars; and
even as to those it does reach, the cone
is so much diminished that it covers

very little of the star's mass, and all the

rest is illuminated by the sun.

F. 6o*l 913

Perched li pianeti appariscono maggiori
2 in oriete che sopra di noi, che dovrebbe
J essere il contrario,
essendo 4 35<X) miglia
p u vicini a noi, essen-
do 5 nel mezzo del
celo, che essendo al-
I'o 6 rizz6te.

?Tutti li gradi delli
elemeti, donde passa-
8 no le spetie de' corpi
celesti, 9 che vengono
all'ochio, sono I0 equali,
e li angoli, "donde li
penetra "la linia ce-
trale di tali spetie, so-
no I 3inequali, e la di--
stantia 14 maggiore,
come mostra 1' eccesso
a b so is pra a d, e per
la 9 a del 7 la gran-
dezza l6 d'essi corpi celesti nell' orizzonte e
provata.

Why the planets appear larger in the
East than they do overhead, whereas the
contrary should be the
case, as they are 3500
miles nearer to us when
in mid sky than when
on the horizon.

All the degrees of
the elements , through
which the images of
the celestial bodiejs pass
to reach the eye, are
equal curves and the
angles by which the cen-
tral line of those images
passes through them, are
unequal angles [13]; and
the distance is greater, as
is shown by the excess of
a b beyond a d; and
the enlargement of these

celestial bodies on the horizon is shown by
the 9 th of the 7 th .

on ffu margin. 20. pruoua. at. Dicano. 22. superiore e chesselle no auesino. 23. che obra cheffa . . chessinterpone.
24. le verebe asscurare. 25. nessedo. 26. nona . . chellonbra. 27. nonagugne . . stelle ege. 28. chellagugnie . . ettanto.
29. ochu pa. 30. aluminato.

913. i. aparisca magori. 2. douerebbe. 5. mczo. 6. rizote, 7. gradi | "delli elemeti". 9. vengano. 10. cului elli angoli [della
luna). ii. (contra le di] donde li. 12. tale. 13. nequali ella. 14. magore . . ecesso. 15. grandeza. 16. orizontc.

913. 1. 13. inequali, here and elsewhere does not mean unequal in the sense of not being equal to
each other, but angles which are not right angles.

914916.]

THE STARS. TIME.

171

Br. M. 279^]

914.

Per uedere la natura delli pi 2 aneti apri
il tetto e mo^stra alia basa vn sol pia 4 neta,
e '1 moto reflesso da stale basa dira la
comples 6 sione del predetto pianeta, ?ma fa

To see the real nature of the planets observations
open the covering and note at the base [4] one " thestars>
single planet, and the reflected movement of
this base will show the nature of the said

che tal basa no ne 8 veda piu d'uno per planet; but arrange that the base may face

uolta.

only one at the time.

915.

Tullius de Diuinatione 2 ait Astrologiam
fuisse 3adinuenta ante trojanum ^bellu
Qumgentis septua s ginta milibus anorum.
57000.

Cicero says in [his book] De Divinatione On history

that Astrol gy has been practised five of no ^y?"
hundred seventy thousand years before the
Trojan war.

57000.

Br. M. 173^ (igoi)]

9l6.

Benche il tenpo sia annumerato infra
le continue 2 quatita, esso, per essere inui-
sibile e sanza corpo, non cade integral-
mete sotto la 3geometrica potentia, la quale
lo diuide per figure e corpi d'infinita va-
rieta, *come continue nelle cose uisibili e
corporee far si uede; Ma sol co' sua primi
s principi si couiene , cioe col punto e colla
linia-; jl punto nel tempo e da 6 essere
equiparato al suo instante, e la linia a
similitudine colla Iughez7za d'una quantita
d'un tempo, e siccome i puti so principio
e fine della predet 8 ta linia , cosl li instanti

Although time is included in the class of Of time and
Continuous Quantities, being indivisible and^^jSj*
immaterial, it does not come entirely under
the. head of Geometry, which represents its
divisions by means of figures and bodies
of infinite variety, such as are seen to be conti-
nuous in their visible and material properties.
But only with its first principles does it agree,
that is with the Point and the Line ; the point
may be compared to an instant of time, and the
line may be likened to the length of a certain
quantity of time, and just as a line begins and
terminates in a point, so such a space of time.

914. 4. refresso. 5. compless. 8. duna.

916. i. anvmerato infralle 3. geometricha | "potentia" . . diuide . . chorpi difinita. 4. uisibile . . farsi e uede Massol. 5. coe
. . cholla. 6. Ella . . "a" . . cholla luggez. 7. "duna quantita" dun . . essicome . . effine. 8. instancti . . prcipio . . Esse.

914. 4. basa. This probably alludes to some in-
strument, perhaps the Camera obscura.

915. The statement that CICERO, De Divin.
ascribes the discovery of astrology to a period
57000 years before the Trojan war I believe to be
quite erroneous. According to ERNESTI, Clavis Ci-
ceroniana, CH. G. SCHULZ (Lexic. Cicer.) and the
edition of De Divin. by GlESE the word Astrologia
occurs only twice in CICERO : De Divin. II, 42. Ad Chal-
dtzoruin monstra veniamus, de quibus Eudoxus, Platonis
auditor, in astrologia judicio doctissimorum hominum
facile princeps, sic opinatur (id quod scriptum reliquit):

Chaldais in prcedictione et in notatione cujusque vita

ex natali die minime esse credendum." He then quotes
the condemnatory verdict of other philosophers as
to the teaching of the Chaldaeans but says nothing
as to the antiquity and origin of astronomy. CICERO
further notes De oratore I, 1 6 that Aratus was
"ignartts astrologies" but that is all. So far as I know
the word occurs nowhere else in CICERO; and the
word Astronomia he does not seem to have used at
all. (H. MULLER-STRUBING.)

916. This passage is repeated word for word on
page I9o b of the same manuscript and this is ac-
counted for by the text in Vol. I, No. 4. Compare
also No. 1216.

172

ASTRONOMY.

918.

so terminc e principle di qualuche dato
spatio di tenpo; e se 'la linia e diuisibile
in Ifinito, lo spatio d'u tenpo di tal diui-
sione non e alieno, I0 e se le parti diuise
della linia sono proportionabili infra se,
ancora le parti del tenpo "sarano propor-
tionabili infra loro.

begins and terminates in an instant. And
whereas a line is infinitely divisible, the
divisibility of a space of time is of the same
nature; and as the divisions of the line may
bear a certain proportion to each other, so
may the divisions of time.

Br. M. i;<5-]

917.

Scriui la qualita del 2 tenpo, separata
dalla Jgeometrica.

Describe the nature of Time as distin-
guished from the Geometrical definitions.

Br. M. 1910] 9 l8

Fa che vn ora sia diui'sa in 3000 parti,
e Jquesto farai coll'oriolo ^alleggeredo o
aggravado sil cotrapeso.

Divide an hour into 3000 parts, and this
you can do with a clock by making the
pendulum lighter or heavier.

io. CMelle parte. n. infralloro.
917. 2. seperata. 3. gcomctricha.

918. 3. cquesto. 4, allegeredo o agravado.

XVI.

Physical Geography.

Leonardo's researches as to the structure of the earth and sea were made at a
time, when the extended voyages of the Spaniards and Portuguese had also excited a
special interest in geographical questions in Italy, and particularly in Tuscany. Still, it
need scarcely surprise us to find that in deeper questions, as to the structure of the globe,
the primitive state of the earth's surface, and the like, he was far in advance of
his time.

The number of passages which treat of such matters is relatively considerable;
like almost all Leonardo's scientific notes they deal partly with theoretical and partly
with practical questions. Some of his theoretical views of the motion of water were
collected in a copied manuscript volume by an early transcriber, but without any
acknowledgment of the source whence they were derived. This copy is now in the Library
of the Barberini palace at Rome and was published under the title: "De moto e mi-
sura dell' acqua," by FRANCESCO CARDINAL!, Bologna 1828. In this work the texts
are arranged under the following titles: Libr. I. Delia spera dell' acqua; Libr. It.
Del moto dell 'acqua; Libr. III. DelPonda dell' acqua; Libr. IV. Dei retrosi d' acqua;
Libr. V. Dell 'acqua cadente; Libr. VI. Delle rotture fatte dall' acqua; Libr. VII
Delle cose portate dall 'acqua; Libr. VIII. Dell'oncia dell' acqua e delle canne; Libr. IX.
De molini e d'altri ordigni d' acqua.

The large number of isolated observations scattered through the manuscripts,
accounts for our so frequently finding notes of new schemes for the arrangement of
those relating to water and its motions, particularly in the Codex Atlanticus: I have
printed several of these plans as an introduction to the Physical Geography, and I have
actually arranged the texts in accordance with the clue afforded by one of them which
is undoubtedly one of the latest notes referring to the subject (No. 920). The text
given as No. 930 which is also taken from a late note-book of Leonardo's, served as a
basis for the arrangement of the first of the seven books or sections , bearing the
title: Of the Nature of Water (Dell'acque in se).

PHYSICAL GEOGRAPHY.

As I kavt not made it any part of this undertaking to print the passages which
refer to purely physical principles, it has also been necessary to exclude those practical
researches which, in accordance ivith indications given in 920, ought to come in as
Books 13, 14 and 15. / can only incidentally mention here that Leonardo as it seems
to me, especially in his youth devoted a great deal of attention to the construction of
mills. This is proved by a number of drawings of very careful and minute execution,
which are to be found in the Codex Atlanticus. Nor was it possible to include his con-
siderations on the regulation of rivers, the making of canals and so forth (No. 920,
Books IO, II and 12); but those passages in which the structure of a canal is directly
connected with notices of particular places will be found duly inserted under section XVII
(Topographical notes). In Vol. I, No. 5 the text refers to canal-making in general.

On one point only can the collection of passages included under the general heading
of Physical Geography claim to be complete. When comparing and sorting the materials
for this work I took particular care not to exclude or omit any text in which a geo-
graphical name was mentioned even incidentally, since in all such researches the chief
interest, as it appeared to me, attached to the question whether these acute observa-
tions on the various local characteristics of mountains, rivers or seas, had been made by
Leonardo himself , and on the spot. It is self-evident that the ftw general and somewhat
superficial observations on the Rhine and the Danube, on England and Flanders, must
have been obtained from maps or from some informants, and in the case of Flanders
Leonardo himself acknowledges this (see No. 1008)+ But that most of the other and more
exact observations were made, on the spot, by Leonardo himself, may be safely assumed
from their method and the style in which he writes of them; and we should bear it in
mind that in all investigations, of whatever kind, experience is always spoken of as the
only basis on which he relies. Incidentally, as in No. 984, lie thinks it necessary to
allude to the total absence of all recorded observations.

INTRODUCTION.

Leic. 5 a]

919.

Quest! libri contegono in ne' primi 2 della These books contain in the beginning : schemes for

natura dell' acqua in se ne' 3 S ua moti, li Of the nature of water itself in its motions : the arrange-

111 r i ' 11 /-i r ' ment ot the

111 r i '

altn contegono delle 4 cose tatte dai sua
corsi, 5 che mv 6 tano il mondo di centre e
di figura.

11 /-i r '

the others treat of the effects of its currents, materials
which change the world in its centre and
its shape.

Leic. 156]

920.

DlUISIO DEL LIBRO.

Libro p delFacque in se,

libro 2 del mare,

libro 3 delle uene,
5 libro 4 de' fiumi;

libro 5 delle nature de' fodi,

libro 6 delli obbietti,

libro 7 delle ghiaje,

libro 8 della superfitie del' acqua,
10 libro 9 delle cose che in quella
son messe;

libro 10 de' ripari de' fiumi,

libro 11 delli condotti,

libro 12 de' canali,

libro 13 delli strumeti volti dalF acqua,
j s libro 14 del far motare 1'acque,

libro 15 delle cose cosumate dalFacque.

DIVISIONS OF THE BOOK.

1 of water in itself.

2 of the sea.

3 of subterranean rivers.

4 of rivers.

5 of the nature of the abyss.

6 of the obstacles.

7 of gravels.

8 of the surface of water.

9 of the things placed
therein.

Book 10 of the repairing of rivers.

Book ii of conduits.

Book 12 of canals.

Book 13 of machines turned by water.

Book 14 of raising water.

Book 15 of matters worn away by water.

919 .1. cotegano. 3 cotegano. 4. dae sua.

gso. 8. giare. 9. delle . . acq"a". 10. quella. 16. dell cose . . acq"e".

PHYSICAL GEOGRAPHY.

[921-925.

Ute. 9-1

Q2I.

Farai prima un libro 2 che tratti de' First you shall make a book treating of

lochi Joccupati dall'acque 'dolci, e '1 2 places occupied by fresh waters, and the se-

dalM' acque salse, e '1 6 3 come, per la par- cond by salt waters, and the third, how by the

?tita di quelle,' queste 8 nostre parti son disappearance of these, our parts of the

'fatte piv lieui, e I0 per consequeza piv world were made lighter and in consequence

"remosse dal cen"tro del modo. more remote from the centre of the world.

r- Ml

922.

Descriui in prima tuttal'acquainciascuno
suo moto, di poi * descriui tutti li sua fondi
e le lor materie, senpre aMegando le pro-
positioni delle predette acque, e fia bu'ono
ordine, che altrimeti 1' opera sarebbe co-
fusa.

s Descriui tutte le figure che fa 1'acqua
dalla sua 6 maggiore alia sua minore onda
e le lor cause.

First write of all water, in each of its
motions; then describe all its bottoms and
their various materials, always referring to
the propositions concerning the said waters;
and let the order be good, for otherwise the
work will be confused.

Describe all the forms taken by water
from its greatest to its smallest wave, and
their causes.

F. Ma]

Libro 9 de' surgimenti accidentali del-
T acqua.

Book 9, of accidental risings of water.

F. 90*]

924.

ORDINE DEL LIBRO.

THE ORDER OF THE BOOK.

2 Poni nel principio ci6 che pu6 fare vn Place at the beginning what a river

fiume. can effect.

Br. M. 35*] 9

Libro d'abbattere li eserciti col' impeto
de' diluui fatti dall'acque disgorgate,

2 Libro che 1' acque coducino a salua-
mento li legniami tagliati ne' moti,

3 Libro delle barche condotte contro al-
1'inpeto de' fiumi,

* Libro dell' alzare li gran ponti col sen-
plice accrescimeto dell' acque,

5 Libro del riparare all'inpeto de' fiumi
che le citta da quelli no sie percosse.

A book of driving back armies by the
force of a flood made by releasing waters.

A book showing how the waters safely
bring down timber cut in the mountains.

A book of boats driven against the impetus
of rivers.

A book of raising large bridges higher.
Simply by the swelling of the waters.

A book of guarding against the impetus
of rivers so that towns may not be damaged
by them.

gai. i. p"a" vn libr. 3. ochupati. 7. quele. 8. parte.

939. i. scriui in p"a" . . lacq"a" . . ciasscuno. 2. dcsscriui . . elle. 4. altremeti. 5. cheffa lacq"a". 6. magore . . elle.
913. acq"".
924. 2. co che po.

9S. The head of tack lint it marked by tht litter d which u crosted out. i. d.ibatter . . chol inpito . . dilumi . . dellacq'V
discorghatc. 2. chellacquc . . assaluamento. 4. acresscimeto. 5. chelle cita dacquelli . . percossi.

926. 927-J

INTRODUCTION.

177

Br. M. 35 3]

926.

Libro della dispositio de' fiumi a co-
seruatio dell'argine sue,

2 Libro delli monti, che si spiccherano,
e fia la terra sotto il nostro emisperio
scoperta dall'acqua,

3 Libro del terreno portato dal'acqua a
riepiere la gra profondita de' pelaghi,

4 Libro de' modi che la fortuna per se
netti li riepiuti porti del mare,

s Libro dell'argine de' fiumi e lor per-
manentia,

6 Libro del fare che li fiumi con lor corso
tegin netti li fondi loro per le citta dode
passano,

7 Libro del fare o rifondare li ponti sopra
li fiumi,

8 Libro di ripari che farsi debbo alii
muri e argini de' fiumi percossi dall'ac-
qua,

9 Libro del generare li colli dalP arena
o ghiaja sopra le gran profondita dell' acque.

A book of the ordering of rivers so as to
preserve their banks.

A book of the mountains, which would
stand forth and become land, if our hemi-
sphere were to be uncovered by. the water.

A book of the earth carried down by the
waters to fill up the great abyss of the seas.

A book of the ways in which a tempest may
of itself clear out filled up sea-ports.

A book of the shores of rivers and of
their permanency.

A book of how to deal with rivers, so
that they may keep their bottom scoured by
their own flow near the cities they pass.

A book of how to make or to repair
the foundations for bridges over the rivers.

A book of the repairs which ought to
be made in walls and banks of rivers where
the water strikes them.

A book of the formation of hills of sand
or gravel at great depths in water.

Br. M. 122 a]

927.

L'acqua da principio al moto suo,

2 Libro liuellamenti d' acque per diuersi
modi,

3 Libro del discostare li fiumi dai lochi
da loro offesi,

4 Libro del dirizzar li fiumi che occu-
pano superchio terreno,

5 Libro del diuidere li fiumi in molti
rami e farli guadabili,

6 Libro dell' acque che co diuersi moti
passa pe' pelaghi loro,

7 Libro del profondare li letti alii fiumi
co uari corsi d' acque,

8 Libro di disporre li fiumi I modo che
li piccoli pricipj de' sua danni non accre-
scino,

9 Libro de' uari moti dell' acque che
passan per diuerse figure di canali,

10 Libro del fare che li piccoli fiumi non
pieghino il maggiore percosso dalle loro
acque,

"Libro della maggior bassezza che
trouar si possa nella correte della super-
fitie de' fiumi,

Water gives the first impetus to its
motion.

A book of the levelling of waters by
various means.

A book of diverting rivers from places
where they do mischief.

A book of guiding rivers which occupy
too much ground.

A book of parting rivers into several
branches and making them fordable.

A book of the waters which with various
currents pass through seas.

A book of deepening the beds of rivers
by means of currents of water.

A book of controlling rivers so that the
little beginnings of mischief, caused by them,
may not increase.

A book of the various movements of waters
passing through channels of different forms.

A book of preventing small rivers from
diverting the larger one into which their
waters run.

A book of the lowest level which can
be found in the current of the surface of
rivers.

926. 2. chessi spich[a] erano effia la terra "sotto il nostro emisperio" scoperta dellacqua. 3. tere. 4. perse nettili riepiuti porta

del mare. 5. ellor premanentia. 6. chelli . . collor . . teginetti . . fondi "lor". 7. orrifondare. 8. cheffarsi. 9. ghi-

ara . . acq"e".
937. i. \\\\\\\\\\\\\\\\\gi to dobliquita Lacq"a". 2 13. Each line is headed by an L, meaning Libro. 3. discosstare . . dalloro. 4. diri-

zar . . ce ochupan. 5. effarli. 6. cho. 7. cho . . chorsi. 8. di sporre . . chelli picholi . . accresscino. 9. acq"e" . .

chanali. 10. chelli picholi . . magore perchosso. n. dalla maggor basseza . . corete. 12. pellalte.

VOL. 11. Z

I 7 8

PHYSICAL GEOGRAPHY.

[ 9 28.

"Libro dell' engine de' fiumi die versa
per 1'alte cime de' monti,

'J Libro della uarieta de' moti dell'acque
ne' lor fiumi.

A book of the origin of rivers which flow
from the high tops of mountains.

A book of the various motions of waters in
their rivers.

928.

Br. M. ]

[i] Delia inequalita della concauita del
nauilio,

[i] Libro della inequalita della curuita
de' lati de' nauili,

3[iJ Libro della inequalita del sito del
timone,

[i] Libro della inequalita della carena
de' nauili,

s [2] Libro della uarieta delli spiraculi
donde 1'acqua si uersa,

6 [3] Libro dell'acqua inclusa ne' vasi
insieme coll' aria e sua moti,

7 [4] Libro del moto dell'acqua per
le cicognole,

8 [5] Libro delli scontri e concorsi del-
l'acque venute da diuersi aspetti,

9 [6] Libro delle varie figure delli argini
traversati dalli fiumi,

10 [7] Libro delle uarie seccbe generate
sotto le chiuse de' fiumi,

11 [8] Libro delle torture e pieghameti
delle correti de' fiumi,

"[9] Libro de' uari siti donde si de'
trar 1'acqua de' fiumi,

I3 [io] Libro delle figure dell'argini de'
fiumi e lor permanetia,

14 [n] Libro dell'acqua cadente perpe-
dicularmente sopra diuersi obbietti,

'5 [12] Libro del corso dell'acqua inpe-
dito in diuersi siti,

16 [12] Libro delle uarie figure delli ob-
bietti che impediscono il corso del acque,

I7 [i3J Libro delle concauita e globosita
fatte dal fondo Ttorno a vari obbietti,

18 [14] Libro del condurre li canali navi-
gabili sopra o sotto li fiumi che Piterse-
gano,

19 [15] Libro delli terreni che beono le
acque de' canali e lor ripari,

20 [i6] Libro della creatio de' corsi de'
fiumi che votano il letto de' fiumi riepiuti
di terreno.

[i] Of inequality in the concavity of a
ship.

[i] A book of the inequality in the curve
of the sides of ships.

[i] A book of the inequality in the position
of the tiller.

[i] A book of the inequality in the keel
of ships.

[2] A book of various forms of apertures
by which water flows out.

[3] A book of water contained in vessels
with air, and of its movements.

[4] A book of the motion of water through
a syphon.

[5] A book of the meetings and union
of waters coming from different directions.

[6] A book of the various forms of the
banks through which rivers pass.

[7] A book of the various forms of shoals
formed under the sluices of rivers.

[8] Abook of the windings and meanderings
of the currents of rivers.

[9] A book of the various places whence
the waters of rivers are derived.

[10] A book of the configuration of the
shores of rivers and of their permanency.

[u] A book of the perpendicular fall of
water on various objects. -.

[12] Abook of the course of water when
it is impeded in various places.

[12] A book of the various forms of the
obstacles which impede the course of waters.

[13] A book of the concavity and globosity
formed round various objects at the bottom.

[14] Abook of conducting navigable canals
above or beneath the rivers which intersect
them.

[15] A book of the soils which absorb
water in canals and of repairing them.

[ 1 6] Abook of creating currents for rivers,
which quit their beds, [and] for rivers choked
with soil.

4. charena. 5. spirachuli . . lacq"a". 6. essua. 7. cicognuolc. 8. acq"e" . . di . . asspetti. 9. delle . . traversate alii.
10. secche [fatte sotto] generate, n. chorreti. u. lacque. 13. fighure dellargine . . ellor premanetia. 14. chadende per-
pedchulare. 15. acq"a". 16. chenpedisscano . . aeq"e". 17. globbosita. 18. condure . . navichabili . . ossotto . .
chellrersegano. 19. beano . . chanali ellor.

928. I. Tte first line of this passage was added subsequently, evidently as a correction of the follow-
ing line. 7. cutgnoU, see No. 966, n, 17.

929-]

INTRODUCTION.

179

gag.

COMI'CIAMETO DEL TRATTATO DEL' ACQUA. THE BEGINNING OF THE TREATISE ON WATER.

2 L'omo e detto-da li antiqui modo By the ancients man has been called the General in-

minore -, e cierto la ditione d'esso-nome world in miniature; and certainly this name trodui
e bene collocata, 3i m p e ro-che, sicchome-
F omo e coposto di terra -, acqua -, aria
e foco-, questo corpo della terra 4 e il
simiglante-; se 1'omo a in se ossi, soste-
nitori e armadura della carne -, jl modo a
i sassi, Ssostenitori della terra; se 1'omo
a in se il lago del sangue, doue crescie-
e discrescie il pcJmo 6 ne nello alitare -, jl
corpo della terra a il suo oceano mare -, il
quale ancora lui crescie ^ e discrescie ogni

sei ore per lo alitare del modo ; se dal
detto lago di sangue diriuano ve 8 ne -, che
si vanno ramificado per lo corpo vmano -,
similmete il mare oceano enpie 9il corpo
della terra d' infinite vene d' acqua; man-
cano al corpo della terra i nerui, i quali
no ui I0 sono -, perche i nervi sono fatti al
proposito del movimeto -, e il modo sendo
di perpetua stabilita, JI non accade movi-
meto e, no accadedo movimeto, i nervi-
no ui sono neciessari ; Ma I tutte IS Taltre

cose sono molto simili.

is well bestowed, because, inasmuch as man
is composed of earth, water, air and fire,
his body resembles that of the earth; and
as man has in him bones the supports and
framework of his flesh, the world has its rocks
the supports of the earth; as man has in him
a pool of blood in which the lungs rise and
fall in. breathing, so the body of the earth
has its ocean tide which likewise rises and
falls every six hours, as if the world breathed;
as in that pool of blood veins have their ori-
gin, which ramify all over the human body,
so likewise the ocean sea fills the body of the
earth with infinite springs of water. The
body of the earth lacks sinews and this is,
because the sinews are made expressely for
movements and, the world being perpetually
stable, no movement takes place, and no
movement taking place, muscles are not ne-
cessary. But in all other points they are
much alike.

929. i. acq"a". 2. cholochata. 3. impero . chessi . chome . . choposto di tera . acq"a" . . effocho . . chorpo . . tera. 4. sel-
lomo . . osso . . charne. 5. ssisotenitori . . lacho. 6. tera . . occicano . . anchora . . cresscie. 7. diriua ve. 8. chessi
vano ramifichado . . chorpo . . [C] similmete . . occieano. 9. dacq"a" mancha . . tera. n. achade . . achadedo. 12. chose.

OF THE NATURE OF WATER.

The .i

E. ] 930.

ORDINE DEL PRIMO LIBRO DELLE ACQUE. THE ORDER OF THE FIRST BOOK ON WATER.

'Difinisci prima che cosa e altezza e Define first what is meant by height and

bassezza anzi come so situati ^li elemeti depth; also how the elements are situated

one inside another. Then, what is ^meant
by solid weight and by liquid weight; but
first what weight and lightness are in them-
selves. Then describe why water moves,
and why its motion ceases; then why it be-
comes slower or more rapid; besides this,
how it always falls, being in contact with
the air but lower than the air. And how water
rises in the air by means of the heat of the
sun, and then falls again in rain; again, why
water springs forth from the tops of moun-
tains; and if the water of any spring higher
than the ocean can pour forth water
higher than the surface of that ocean. And
how all the water that returns to the ocean
is higher than the sphere of waters. And
how the waters of the equatorial seas are
higher than the waters of the North, and higher
beneath the body of the sun than in any part
of the equatorial circle ; for experiment shows
that under the heat of a burning brand the
water near the brand boils, and the water
surrounding this ebullition always sinks with

Book i. 1'u'dentro all'altro; Di poi che cosa e gra-
vita de 4 sa e che e gravita liquida, ma prima
che cosa e in se gravista e leuita ; Di poi
descrivi perche 1'acqua si move e perche
ter^mina il moto suo, poi perche si fa piu
tarda o velocie, oltre 7 a questo come ella
senpre disciede, essendo in cofine d'ari*a
piu bassa di lei j E come 1'acqua si leua
in aria mediante 9il calore del sole e poi

ricade in pioggia ; ancora perche 1' acqua
10 surgie dalle cime de' monti e se 4' acqua
di nessuna vena piu alta "che 1' oceano
mare pud uersare acqua piu alta che la
superfitie I2 d' esso oceano ; E come tutta

1' acqua che torna all' oceano e piu alta
'^della spera dell' acqua | e come 1'acqua
delli mari equinotiali e piu alta ^che le
acque settetrionali , ed e piu alta sotto il
corpo del sole 'Sche in nessuna parte del
circulo equinotiale come si speri l6 meta
sotto il calore dello stizzo infocato, 1'acqua
che mediate tale stizzo bolle e 1'acqua
circustate al cietro di tal bol' 8 lore senpre

930. i. p"o" libro. 2. p"a" che chosa he . . ebbasseza. 3. chosa. 4. chosa. 5. elleuita. 7. addi questo chomelU . . cotino.
8. chome. 9. chalore . . eppoi richade . . anchora. 10. dellc cime . . essellacqua. n. chclloccieano . . cbella. 12. occic-
ano . . chome . . chettorna . . accieano eppiu. 13. [desso] della . . chome . . ecquinotiali eppiu. 14. chelle. 15. incssuna
. . circhulo . . iiisperi. 16. chalore . . infochato. 17. talle . . ellacqua circhustate. 18. dissciende . . circhulare e chome.

931 933-]

OF THE NATURE OF WATER.

181

disciende con onda circulare e come 1' acque a circular eddy. And how the waters of the

^settetrionali Son piv basse che li altri
mari e tato piu, qua 20 to esse son piv fredde,
insin che si convertono in ghiaccio.

North are lower than the other seas, and
more so as they become colder, until they
are converted into ice.

C 266 (4)]

CHE COSA E ACQUA.

OF WHAT IS WATER.

2 Acqua e infra i quatro elemeti il se- Among the four elements water is the Definitions

codo me grave e di seconda volubilita. second both in weight and in instability. (931-932).

1.2 24* and 1} 932.

PRINCIPIO DEL LIBRO DELL' ACQUE.
Pelago e detto quello, il quale a figura

THE BEGINNING OF THE BOOK ON WATER.

_ - !., j & Sea is the name given to that water

la'rga ^e profoda; 4 ne l quale 1' acque stanno which is wide and deep, in which the waters

con poco moto.

have not much motion.

Leic. 34 6]

933-

Li centri della spericita dell'acqua sono
due : 1' uno e della vniuersale acqua, 1' altro
e particulare; 2 l'vniversale e quello, il
quale serue a tutte 1' acque sanza moto ; che
sono in se in gra quatita, 3 come canali,
fossi, viuai, fonti, pozzi, fiumi morti, laghi,
paduli, stagni e mari, li quali, ancorache
sieno di uarie altezze ciascuno per se, ano
li termini delle lor superfitie equi^distanti
al centro del mondo, come sono i laghi
posti nelle cime delli alti moti come sopra
s Pietra Pana e Lago della Sibilla a Norcia,
e tutti li laghi che da principio a grandi
fiumi, come Tesino 6 dal Lago Maggiore,
Adda dal lago di Como, Mincio dal lago
di Garda e Reno dal lago di Costan?tia |
e di Coira e dal lago di Lucerne, e come
Tigron, il quale passa per la Minore Asia,
il quale ne porta 8 con seco 1' acqua di 3
paduli, 1'un dopo 1' altro, di uarie altezze,
de' quali il piv alto e Munace, el mezzano
e Pallas 9e '1 piu basso e Triton; ancora
el Nilo diriua da 3 altissimi paduli in Eti-
opia.

The centres of the sphere of water are or the sur-
two, one universal and common to all water, ^aterhlrda-
the other particular. The universal one istin to the
that which is common to all waters not in (933-936).
motion, which exist in great quantities. As
canals, ditches, ponds, fountains, wells, dead
rivers, lakes, stagnant pools and seas, which,
although they are at various, levels, have
each in itself the limits of their superficies
equally distant from the centre of the earth,
such as lakes placed at the tops of high moun-
tains; as the lake near Pietra Pana and
the lake of the Sybil near Norcia; and all
the lakes that give rise to great rivers, as
the Ticino from Lago Maggiore, .the Adda
from the lake of Como, the Mincio from
the lake of Garda, the Rhine from the lakes
of Constance and of Chur, and from the lake of
Lucerne, like the Tigris which passes through
Asia Minor carrying with it the waters of three
lakes, one above the other at different heights
of which the highest is Munace, the middle one
Pallas, and the lowest Triton; the Nile again
flows from three very high lakes in Ethiopia.

19. chelli . . ettato. 20. chessi chonvertano in diaccio.

931. i. chosa . . sechodo. 2. grieve . . sechonda. 933. 2. pellago . . affigura.

933. i. Lli centri . . acq"a" . . partichulare. 2. deluniversale . . attutte lacque . . chessono. 3. cannali fossi "viuai fonti pozi'
fiumi . . quali "ancorche sieno di uarie alteze ciascun per se" ano. 4. distante . . illaghi. 5. pietra pana ellago . . sibilla
a norca ettutti. 6. [adda da] dal . . magore . . lagho . . como [adice] "menzo" dal lagho . . erreno . . gostan. 7. eurio
lacho . . Trigon . . minore africha il quane ne. 8. consecholacq"a" . . alteze . . mezano he. 9. di.

932. Only the beginning of this passage is here
given, the remainder consists of definitions which
have no direct bearing on the subject.

933- 5- Pietra Pana, a mountain near Florence. If
for Norcia, we may read Norchia, the remains of

the Etruscan city near Viterbo, there can be no doubt
that by 'Lago della Sibilla! a name not known else-
where, so far as I can learn Leonardo meant
Lago di Vico (Lacus Ciminus, Aen. 7).

182

PHYSICAL GEOGRAPHY.

[934- 935-

934-

DEL CIETRO DELL OCIEANO MARE.

*D cietro della spera dell'acqua e il
centre- vero della rotodita del nostro modo,

il quale si copone J infra acqua e terra
in forma rotoda ; Ma se tu volessi trovare

il cietro dello elemeto della terra , questo

e cotenuto per equidistate spatio dalla
superfitie dell' oceano mare , e no dalla
sequidistante superfitie della- terra , perche
chiaro si comprende questa palla della
terra non 6 avere niente di perfetta roto-
dita , se non in quella parte dou' e mare

o paduli o altre acque mor 7 te, e qualun-
que parte d'essa terra che escie fori
d'esso mare, s'allontana dal suo- cietro.

OF THE CENTRE OF THE OCEAN.

The centre of the sphere of waters is
the true centre of the globe of our world,
which is composed of water and earth,
having the shape of a sphere. But, if you
want to find the centre of the element of
the earth, this is placed at a point equidi-
stant from the surface of the ocean, and
not equidistant from the surface of the earth;
for it is evident that this globe of earth has
nowhere any perfect rotundity, excepting in
places where the sea is, or marshes or other
still waters. And every part of the earth
that rises above the water is farther from
the centre.

E. 4*1 935

DEL MARE CHE MUTA 2 IL PESO DELLA TERRA.

OF THE SEA WHICH CHANGES THE WEIGHT OF
THE EARTH.

3 Li nichi, ostrighe e altri simili animali,
<che nascono nelli fanghi marini, ci testifi-
scano la mutatio della terra intorno al

6 cietro de' nostri elemeti; pruovasi cosl:

7 Li fiumi reali senpre corrono con torbidu-
8 me, tinto dalla terra, che per lor si leua
mediate la co^fregatio delle sue acque sopra
il fondo e nelle sue I0 riue, e tal cosumati-
one scopre le fronti de' gradi "fatti a' suoli
di quelli nichi, che stan nella superfitie
"del fango marine, li quali in tal sito na-
scierono, qua^do 1' acque salse li coprivano,
e questi tali gradi erano ri I4 coperti di tenpo
in tenpo dalli fanghi di uarie grossez'Sze o
condotti al mare dalli fiumi co diluvi di di-
verse gra l6 dezze; e cosl tali faghi furono
composti in tata altezza, che dal fondo si
'^scopriua all' aria; Ora questi tali fondi
sono in tata l8 altezza che son fatti colli,
o alti moti, e li fiumi, ^consuma^tori de'
lati "d'essi monti, "scoprono **\\ gradi
d'es^si nichi, e co 2 5sl il Ieni 26 ficato lato
*? della terra 28 al cotinuo 2 9s'inalza, e *]i
antipcP'di s'accosta^no piu al -"tietro del
Jmondo, 35 e li anti^chi fondi del 37 ma re
son fatti * 8 gioghi di monti.

The shells, oysters, and other similar ani-
mals, which originate in sea-mud, bear wit-
ness "to the changes of the earth round the
centre of our elements. This is proved
thus: Great rivers always run turbid, being
coloured by the earth, which is stirred by the
friction of their waters at the bottom and on
their shores; and this wearing disturbs the face
of the strata made by the layers of shells,
which lie on the surface of the marine mud,
and which were produced there when the
salt waters covered them; and these strata
were covered over again from time to time,
with mud of various thickness, or carried down
to the sea by the rivers and floods of more or
less extent; and thus these layers of mud became
raised to such a height, that they came up
from the bottom to the air. At the present time
these bottoms are so high that they form hills
or high mountains, and the rivers, which
wear away the sides of these mountains, un-
cover the strata of these shells, and thus the
softened side of the earth continually rises and
the antipodes sink closer to the centre of the
earth, and the ancient bottoms of the seas
have become mountain ridges.

934. i. eccicono. a. dellacq"a" . . retodita . . nosstro . . qualle . . chopone. 3. acq"a" ecterra . . retoda Massettu . . elle-

meto. 4. quessio e thotenuto . . equidissunte . . occieano. 5. equidisstanto . . chonplende questa . . nona. 6. retodita.

7. ecqualumque . . terra esscie.
935- 3- osstrighe. 4. nasschano . . tessti. 5. chano. 6. nosstri. 7. senpre [stanno] cor! torbidi. 8. mediate la terra. 9. fre-

ghatio . . accque . . nelle sine. 10. rive ettal . . sconpre . . fronte. ' n. assuoli . . chesstan. 12. fangho . . nasscicrono.

13. ecquessti . . era ri. 14. grosse. 15. indotti. 16. faghi conpossti . . alteza. 17. quessti. 18. alteza . . clli fiumi.

22. scoprano. 24. echo. 25. si [1] illeni. 26. fichato. 29. el sacossta. Lines 19 38 are written OH the margin.

936 938.]

OF THE NATURE OF WATER.

183

Leic. 10 i]

936.

Faccia mutatio la terra colla sua gra- Let the earth make whatever changes

vezza, quate farsi 2 voglia, che mai la it may in its weight, the surface of the

superfitie .della spera dell'acqua no si sphere of waters can never vary in its

partira dalla sua equidistatia col centre del equal distance from the centre of the

modo. world.

Leic. 35,5] 937-

SE LA TERRA & ME CHE L'ACQUA.

2 Dicono alcuni esser vero, che la terra,
ch'e scoperta dalle acque, sia molto
rninore che quella che da esse acqu' e
coperta; 3 Ma che considerando la
grossezza di 7000 miglia di diametro,
che a essa terra, e' si puo concludere
1'acqua essere di *poca profondita.

Leic. 36

938.

BELLA TERRA IN SE.

WHETHER THE EARTH is LESS THAN THE WATER.

Some assert that it is true that the earth,

. . , , , . Of the pro-

which is not covered by water is portion of
much less than that covered by wa- ^ a e te " a ss th J
ter. But considering the size of 7000 of the Dearth
miles in diameter which is that of
this earth, we may conclude the
water to be of small depth.

OF THE EARTH.

(937- 938)-

2 L' alzarsi tanto le cime de' monti sopra
la spera dell' acqua puo esser diriuato, perche
il loco grandissimo 3 della terra, il quale

The great elevations of the peaks of the
mountains above the sphere of the water
may have resulted from this that: a very

era ripieno d' acqua,
cioe la grandissima
cauerna, douette ca-
dere assai della sua
volta inuerso il centro
del mondo, trovandosi
ispiccata mediante il
corso deslle uene che
al continuo consuma-
no il loco donde pas-
sano.

6 Profondameto di paesi 7 come
Mare Morto di So 8 ria cioe Sodoma e
morra.

9 E necessario che 1'acqua sia piu che
la terra, e la parte scoperta del mare no

nel
Go-

large portion of the earth
which was filled with
water that is to say
the vast cavern inside
the earth may have fal-
len in a vast part of
its vault towards the
centre of the earth, being
pierced by means of the
course of the springs
which continually wear

away the place where they pass.

Sinking in of countries like the Dead Sea

in Syria, that is Sodom and Gomorrah.
It is of necessity that there should be more

water than land, and the visible portion of

936. i. facia . . graveza. 2. dellacq"a".

937. i. Sella . . chellacq"a". 2. dicano . . chella. 3. groseza . . diamitro . . po con chludere lacqua per essere. 4. pocha.

938. 2. lasspera . . ilocho. 3. coe. 4. isspichata. 5. iloco. 8. coe soddoma e gamora. 9. chellacq"a" . . chella terra ella . .
dell . . dimosstra.

938. The small sketch below on the left, is placed in the original close to the text referring to the
Dead Sea.

184

PHYSICAL GEOGRAPHY.

[939- 940.

lo dimostra, onde bisognia che I0 molta the sea does not show this ; so that there must

acqua sia dentro alia terra, sanza quella be a great deal of water inside the earth,

ch'e infusa nella bassa aria e che scorre besides that which rises into the lower air

"per li fiumi e uene. an d which flows through rivers and springs.

939-

FIGURA D' ELEMETI.

THE FIGURES Off THE ELEMENTS.

'Delia figura delli elemeti, e prima

The theory contro a chi nega ^I'opinione di Platone,

ofpuio. che dicono che se essi elemeti vestis'sero

1'un 1'altro, colle figure che mette Platone,

che si caJvserebbe vacuo infra 1* uno e 1* al-

tro; e non e vero, e *'qui lo provo, ma

Erima bisognia proporre alcuna co^clusione;
on e neciessario che nessuno ele 8 mento,
che veste 1'u 1'altro, sia d'equ 1 grossezza
in tu9tta la sua quantitk infra la parte che
ueste e quel I0 la ch'e
uestita ; Noi uediamo
la spera dell' acqua
ma^nifestamete essere
di uarie grossezze dal-
la sua "superfitie al
fondo, e che, no che
essa vestisse I3 la terra
quando fusse di figura cuba cioe di 8 an-
goli come ^vole Platone, essa veste la
terra che a innumerabili 'Sangoli di scogli
coperti dall' acqua e varie globosita e co-
l6 cavita, e non si genera vacuo infra 1' ac-
qua e la terra; Ancora 1'aria veste la
spera dell' acqua ^insieme colli monti e
valli che superano essa spera, e no l8 ri-
mane vacuo infra la terra e 1'aria, sicche,
chi disse ^generarsi vacuo, ebbe tristo di-
scorso.

20 A Plato si rispode che la superfitie
"delle figure che avrebbero li elemeti,
22 che lui pone, non potrebbero sta 2 -*re.

Of the figures of the elements; and first
as against those who deny the opinions of
Plato, and who say that if the elements in-"
elude one another in the forms attributed
to them by Plato they would cause a va-
cuum one within the other. I say it is not
true, and I here prove it, but first I desire
to propound some conclusions. It is not
necessary that the elements which include
each other should be of corresponding magni-
tude in all the parts, of
that which includes and
of that which is inclu-
ded. We see that the
sphere of the waters
varies conspicuously in
mass from the surface to
the bottom, and that, far

from investing the earth when that was in the
form of a cube that is of 8 angles as Plato
will have it, that it invests the earth which
has innumerable angles of rock covered by
the water and various prominences and concavi-
ties, and yet no vacuum is generated between
the earth and water; again, the air invests
the sphere of waters together with the moun-
tains and valleys, which rise above that sphere,
and no vacuum remains between the earth and
the air, so that any one who says a vacuum is
generated, speaks foolishly.

But to Plato I would reply that the sur-
face of the figures which according to him
the elements would have, could . not exist.

A. 58*] 940.

COME -LA TERRA NON E - TODA, 2 E, PROVES HOW THE EARTH IS NOT GLOBULAR
NON ESSENDO TODA, NO PUO AVER COMVNE - AND NOT BEING GLOBULAR CANNOT HAVE A
CETRO. COMMON CENTRE.

i vediamo il Nilo partirsi dalle- We see the Nile come from Southern

That the meridiane regioni-e rigare diuerse pro- regions and traverse various provinces, run-
proresThTvinciej corredo 4 inverse settentrione per ning towards the North for a distance of

slope of the
land.

939. i. p"a" cootro . . niegha. 3. lopenione . . dicano chesse . . vessti. 4. sm lulaltro cholle. 5. vserebe . . ellaltro ilenone
ere. 6. sna p"a". 8. grosseza. 9. infralla . . ecquel. 10. lasspera dellacq"a". xx. grosseze. 12. vestissi [il cubo]
13. quande fussi . . cubo *'cee di 8 angoli" come. 14. esse . . inunbili. 15. acq"a". 16. cavita "e non sigenera vacuo
infra lacqua ella terra" Ancora laria che veste. 17. cholli. 18. ellaria siche. 20. chella. 21. arebo. 22. chellui . .
potrebono.

940. i. chome . . tera . . po avr chomune. 3. vedemo . . delle . . choredo. 4. settantrione . . isspatio . . miglia "e vessare

94I-]

OF THE NATURE OF WATER.

I8 5

ispatio di 3000 miglia e versare nelle
mediterrane ode ai liti d'Egitto, e se noi
vogliamo dare a questo di calo quelle
s dieci braccia per miglio , le quali comv-
nalmete si concede alia vniversalita del
corso de' fiumi, 6 noi troveremo il Nilo
avere il suo fine piv basso che '1 pricipio
miglia dieci ; ?Ancora vediamo il Reno,
Rodano e Danvbio - partirsi dalle germani-
che parti, quasi cietro 8 d'Evropa , e 1'uno
a Oriete, 1'altro a settetrione , e P ultimo-
a meridiani mari fa suo corso; 9 se tu cosi-
derai bene tutto, vedrai le pianvre d' Europa
fare vno cocorso molto I0 piv elevato ,
che no sono 1'alte cime de' marittimi moti;
or pesa, quato le loro cime TI si trovano-
piv alte che liti marini.

3000 miles and flow into the Mediterranean
by the shores of Egypt; and if we will give
to this a fall of ten braccia a mile, as is
usually allowed to the course of rivers in
general, we shall find that the Nile must
have its mouth ten miles lower than its source.
Again, we see the Rhine, the Rhone and
the Danube starting from the German parts,
almost the -centre of Europe, and having a
course one to the East, the other to the
North, and the last to Southern seas.
And if you consider all this you will see
that the plains of Europe in their aggre-
gate are much higher than the high peaks
of the maritime mountains; think then how
much their tops must be above the sea
shores.

A. 55-5]

941.

DEL CALDO CHE NEL MODO E.

2 Dov'e-vita 11 e calore , e dou'e-ca-
lore vitale, quiui e mouimeto d'umori;
3 Questo si pruova, inperoche si uede per
effetto che il caldo dello elemeto del
foco senpre tira a se 4 li umidi vapori e
folte nebbie e spessi nuvoli , i quali spic-
cano da' mari e altri paduli e fiumi e
vmide s valli, e quelle tirado a poco a poco

insino alia fredda regione , quella prima
parte si ferma, 6 perche-il caldo e vmido
no si affa col freddo e secco ; onde ferma
la prima parte 11 assetta 1'altre 7 parti, e
cosl, aggiugniedosi parte co parte , si fa
spesse e oscure nvbole ; e spesso sono
8 remosse e portate da veti d' Una -in altra
regione; dove per la densita loro fanno si
spessa gravezza, 9 che cadono co spessa
pioggia ; e se '1 caldo del sole s' aggivgnie
alia potetia dello elemeto I0 del foco , i
nvuoli fieno -tirati piv alti e trovano piv
freddo, in nel quale si ghiacciano e cavsasi
11 tepestosa gradine ; Ora quel medesimo

caldo , che tiene si gra peso d' acqua ,
come si uede I2 piovere de' nvvoli, sveglie
P acque di basso in alto dalle base delle
motagnie, e coduciele, e tienle ^detro-
alle cime delle motagnie, le quali , tro-
vado qualche fessura, al continue vsciedo,
14 causa i fiumi.

within the

Where there is life there is heat, and where Theory of
vital heat is, there is movement of vapour. th of e wlter n
This is proved, inasmuch as we see that
the element of fire by its heat always draws
to itself damp vapours and thick mists as
opaque clouds, which it raises from seas as
well as lakes and rivers and damp valleys; and
these being drawn by degrees as far as the
cold region, the first portion stops, because
heat and moisture cannot exist with cold
and dryness; and where the first portion stops
the rest settle, and thus one portion after
another being added , thick and dark
clouds are formed. They are often wafted
about and borne by the winds from one
region to another, where by their density
they become so heavy that they fall in thick
rain; and if the heat of the sun is added to
the power of the element of fire, the clouds
are drawn up higher still and find a greater
degree of cold, in which they form ice and
fall in storms of hail. Now the same heat
which holds up so great a weight of water
as is seen to rain from the clouds, draws
them from below upwards, from the foot of
the mountains, and leads and holds them
within the summits of the mountains, and
these, finding some fissure, issue continuously
and cause rivers.

nelle mediterane ode a liti e se . . degitto acquessto di cholo qualle. 5. dieci br . . quale chomvnemete . . chonciede. 6. no
trovrremo . . precipio . . . diecip. 7. vedemo . . delle. 8. elluno . . assettatrione . . chorso. 9. settu chosiderai . be
verai [levr] le . . deropia . . chochorso. 10. cime.

941. i. chaldo. 2. vita | "li" e chalore . . quiue . . domori [Esse 1 chaldo move lumido "il freddo lo ferma". 3. chaldo . . focho
. asse. 4. elTolte nebie esspessi nuboli . . spicha de . . effiumi. 5. quele . . apocho apocho . . freda regione [i] e. 6. chal-
do . . chol . . essecho . . li assetta laltre. 7. chosi agiugnedo . . cho . . osschure . . esspesso sono [portale]. 8. fano
graueza. 9. chadano choispessa piogia esselchaldo . . sagivgnie. 10. focho . . fredo inel . . diacciano e chavsasi.
ii. chaldo chettiene . . chome. 12. nvboli [tiene] disuelle . . delle motagnie e choducie le ettielle. 13. motagnie le quali
. . li chontinui vssciedo. 14. chausano i fiumi.

VOL. II.

A A

[86

PHYSICAL GEOGRAPHY.

[942. 943.

942.

OF THE SEA, WHICH TO MANY FOOLS APPEARS

DlL MARE CHE A MOLTI *SENPLICI PAR PIU TQ B HIGHER TH AN THE EARTH WHICH FORMS
ALTO JCHE LA TERRA CHE GLI FA LIT1.

* d e vna pianvra, donde corre s vn
Th reuuve fiume al mare, la qual pianu 6 ra a per ter-
h tmf a f o 1 f e mine esso mare; e per'che in vero essa
the' <a 10 t err a scoperta no * e nel sito dell' e-
lh *und the qualita,-perche, seco'slfusse, il fiume
l)- non avrebbe mo jo to~,onde, moven-
dosi, questo sito "a piutosto da essere
detto spiagg"ia che pianvra; e cosl
essa pia^nura d b termina in tal
modo '*colla spera dell'acqua che,
chi la produ'Scesse in continua rettitudine
in b a, Ib essa entrerebbe sotto il mare, e
7di qui nasce che '1 mar a c b pare piu
alto che la terra discoperta.

l8 Naturalmete nes^suna parte della 20 terra
discoperta da 2I l'acqua fia mai 22 piu bassa
che la 2 3superfitie della ** spera d'essa acqua.

ITS SHORE.

b d is a plain through which a river
flows to the sea; this plain ends at the sea,
and since in fact the dry land that is un-
covered is not perfectly level for,
if it were, the river would have no
motion as the river does move, this
place is a slope rather than a plain;
hence this plain d b so ends where
the sphere of water begins that if
it were extended in a continuous line
to b a it would go down beneath the sea,
whence it follows that the sea a c b looks
higher than the dry land.

Obviously no portions of dry land left
uncovered by water can ever be lower than
the surface of the watery sphere.

943-

D'ALCUNI CHE DICONO L*ACQUA ESSERE PIV
ALTA CHE LA TERRA SCOPERTA.

2 Cierto non poca ammiratione -mi da
la comvne opinione fatta cotro al uero
dallo vniversale 3 cocorso de' givditi delli
omini , e 'questo e che tutti s'accordano
che la superfitie del mare 4 sia piv alta
che 1'altissime cime delle motagnie , alle-
gado molte vane e puerili ragioni, 5 cotro
ai quali io n'allegher6 solo vna senplie e
brieve ragione ; Noi vediamo chiaro , che
b se si toglie via 1'argine al mare , che
lui vestira la terra e faralla di per-
fetta rotodita; ?or cosidera quata terra
si leuerebbe a fare che 1'ode marine
coprissino 8 il modo; aduque ci6, che si
leuasse, sarebbe piv alto che la riua del
mare.

OF CERTAIN PERSONS WHO SAY THE WATERS WERE
HIGHER THAN THE DRY LAND.

Certainly I wonder not a little at the
common opinion which is contrary to truth,
but held by the universal consent of the
judgment of men. And this is that all are
agreed that the surface of the sea is higher
than the highest peaks of the mountains;
and they allege many vain and childish reasons,
against which I will allege only one simple
and short reason: We see plainly that if
we could remove the shores of the sea, it
would invest the whole earth and make it
a perfect sphere. Now, consider how much
earth would be carried away to enable the
waves of the sea to cover the world; there-
fore that which would be carried away must
be higher than the sea-shore.

94*. 2. senpici par pu. 3. chella . . chclli. 4. a d e vna. 5. lacqual. 6. essesso. 9. fussi . . arebbe. 14. dellacq"a". 15. cessi.

16. enterebbe. 17. nassce. On Ote margin is written: cella tera

di scoperta.

LtHft te 24 are olio written on ike margin. 18. nc. 22. chella. 24. acq"a".
943. i. dichanu lac<j"a" . . chella. 2. pocha amiratione . . chomvne oppenione fatto chotra. 3. chochorso . . ecquesto e chet-

tutti sachordnno chella. 4. chellaltissime . . ragione. 5. nalegero . . vedemo. 6. tolglie . . chellui vesstira eflaralla . .

rcJodita. 7. chOsidera |vn p.cha] . . affare chellode . . choprissino. 8. chessi leuassi . . chella.

944- 945-1

OF THE NATURE OF WATER.

I8 7

A. 5 6a]

944-

OPINIONE D'ALCUNI-CHE DICONO CHE L'AC-
QUA D* ALCUNI 2 MARI E PIV ALTA CHE LE PIV

ALTE SOMMITA DE' MOTI, 3 E PERO SIA SOSPITA

L'ACQUA A ESSE SOMITA.

4 L' acqua no si movera da loco a loco

se la bassezza-non la tira; E per corso
Snaturale no potra mai ritornare a altezza

simile al primo loco, do 6 ve
nel uscire de'moti si mostro

al cielo ; E quella parte
del mare , che 7 co falsa
imaginatione tu diciesti es-
sere si alta , che uersaua
per le cime de 8 li alti moti,

per tati seculi sarebbe co-
sumata e uersata per 1' uscita
d'esse 9 m dtagnie; Tu puoi
bene pesare che tato tepo
che Tigris ed Eufrates

THE OPINION OF SOME PERSONS WHO SAY THAT
THE WATER OF SOME SEAS IS HIGHER THAN THE
HIGHEST SUMMITS OF MOUNTAINS; AND NEVER-
THELESS THE WATER "wAS FORCED UP TO
THESE SUMMITS.

Water would not move from place to
place if it were not that it seeks the lowest
level and by a natural consequence it never
can return to a height like that
of the place where it first on
issuing from the mountain
came to light. And that por-
tion of the sea which, in your
vain imagining, you say was
so high that it flowed over the
summits of the high mountains,
for so many centuries would be
swallowed^up and poured out
again through the issue from
these mountains. You can well imagine that
all the time that Tigris and Euphrates

A. 566]

945-

anno versato per le sommita de' moti

Armeni , che si puo credere che tutta
F acqua dell' ocieano * sia moltissime volte

passata per dette bocche ; or non cre-
di tu che '1 Nilo abbi messo piv 3 acqua-
1 mare che non e al presente tutto lo ele-
meto dell' acqua ? cierto si; e se detta
acqua 4 fusse caduta fori di questo corpo

della terra , questa machina sarebbe gia
lugo tepo Sstata saza acqua, siche si puo
cocludere che F acqua vadi dai fiumi al
mare e dal mare 6 ai fivmi, senpre cosl
raggirado e voltadosi, e che tutto il mare

e i fivmi sieno passati per la bocca del
Nilo infinite volte.

have flowed from the summits of the
mountains of Armenia, it must be believed
that all the water of the ocean has passed
very many times through these mouths.
And do you not believe that the Nile must
have sent more water into the sea than at
present exists of all the element of water?
Undoubtedly, yes. And if all this water
had fallen away from this body of the earth,
this terrestrial machine would long since
have been without water. Whence we may
conclude that the water goes from the rivers
to the sea, and from the sea to the rivers, thus
constantly circulating and returning, and that
all the sea and the rivers have passed through the
mouth of the Nile an infinite number of times

944. I. Openione dalchuni che dichano chellacqua dalchuni. 2. alta [che alchu] chelle . . somita. 4. Lacq"a" . . dalocho al-
locho sella basseza . . chorso. 5. alteza . . locho. 6. usscire . . Ecquella. 7. cho . . dicievi. 8. tate sechuli sarebe cho
sumata . . lusscita. 9. motagnia . . chettato . . chettigris.

945. i. moti ermini che si po . . che | "tutta"llacq"a". 2. boche . . abi. 3. imare . . e "al presete" tutto . . esse. 4. fussi
chaduta . . chorpo . . tera . . sarebe. 5. chochiudere. 6. ragirado . . chettutto . . sia pasato . . bocha; the last two words
infinite volte are written on tlie margin.

945. Moti Armeni, Ermini in the original, in M.
RAVAISSON'S transcript "monti ernini \le loro ruine?]".
He renders this "Le Tigre et I' Euphrate se sont de-
verses par les sommeli- des monlagnes \avec leurs eaux
destructives ?\ on peut cro : re" &c. Leonardo always
writes Ermini, Erminia, for Armeni, Armenia (Arabic :

IrminiaK]. M. RAVAISSON also deviates from the
original in his translation of the following pas-
sage: "Or tu ne crois pas que le Nil ait mis plus
d'eau dans la mer qdil tfy en a a present dans tout
V element de I'eau. II est certain que si cette eau etait
tombed &c.

II.

ON THE OCEAN.

G. 48*)

946.

PERCH L'ACQUA fc SALSA.

the saltncss
of the sea
(946 947)-

'Dicie Plinio nel 2 suo libro, al 103
Refutation ca'pitolo, che 1'acqua del mare e salata per-
iheory' n u> che M'ardore del sole secca I'umisdo e
quello succia, e questo al mare, che 6 molto
s'allarga, da sapore di sale; 7 Ma questo
no si cociede, perche se la salsedine 8 del
mare avesse cavsa dallo ardore del sole,
'e' non e dubbio che tanto maggiormente li
laghi, stagni e paduli I0 sarebbonopiu insalati,
quato "le loro acque son manco mobili e
di 13 minore profondita, e la esperiezia ci
mo'^stra il contrario; tali paduli ci mostra
14 le loro acque essere al tutto private di
sal'Ssedine; Ancora s'assegnia da Plinio
nel medesimo l6 capitolo che tal salsedine

WHY WATER IS SALT.

Pliny says in his second book, chapter
103, that the water of the sea is salt because
the heat of the sun dries up the moisture
and drinks it up; and this gives to the wide
stretching sea the savour of salt. But this
cannot be admitted, because if the saltness
of the sea were caused by the heat of the
sun, there can be no doubt that lakes,
pools and marshes would be so much
the more salt, as their waters have less
motion and are of less depth ; but experience
shows us, on the contrary, that these lakes
have their waters quite free from salt.
Again it is stated by Pliny in the same
chapter that this saltness might originate,

946. i. essalsa. 2. a 103 capitoli. j.chellacqua . . essalata. 4. [li razi solarij Lardore . . secha "abrozre e (?)'\lumi. 5. ecquello . .
ecquesto. 6. sallargha. .sale | [Qui|. 7. Macquesto . .sella. 8. avessi chausa dello. 9. chelli "tanto magiormente" laghi. -10. [dove
lacquej sarebbono. n. |le] le . . mancho . . eddi. 12. ella . . mos. 13. in chontrario . . mosstra. 14. tucto. 15. Acora
sasegnia [nel me). 16. chapitolo chettal. 17. nassciere . . leuato | "ne ogni" porte. 18. dolcie [dellacq"a" ressta lasspra]

946. See PLINY, Hist. Nat. II, CIII [C]. Itaque
Salts ardore slccatur liquor: ft hoc use masculum sidus
acctpimui, tarrens cuncta sorbensque. (cp. CIV.) Sic mart
late pattnti saporem incoqtti salis, out quia exhausto inde
dulci tfnuique, quod facillime trahat vis ignea, omne
atperiui crassiusque linquatur: ideo summa aequorum
aqua dulciorem profundam; hanc esse veriorem causam,
quant quod mare terrae sudor sit aeterttits: out quia
plurimum ex arido misctatur illi vapore: aut quia terrae
ttatura ticiit mcdiaitas aquas inficiat . . (cp. CV) : a/tis-

simum mare XV. stadiorum Fabianus tradit. Alii n
Ponto coadverso Coraxorum gentis (vacant Ba!)ea Ponti)
trecentis fere a continents stadiis immensam altitudinem
marts tradunt, vadis nunquam repertis. (cp. CVI [CIII])
Mirabilius id faciunt aquae dulces, juxta mare, ut fi-
stulis emicanles. Nam nee aquarunt natura a miraculis
cessat. Dulces mart invehuntur, leviores haud dubie.
Ideo et marinae, quarum nalura gravior, magis in-
vecla sustinent. Qiiaedam vero et dulces inter se super-
meant alitis.

947-]

ON THE OCEAN.

189

J 7potrebbe nasciere, perche, leuatone ogni
l8 dolce e sottile I9 parte, la qual facilmete
il caldo a se ti 20 ra, rimane la parte piu
aspra e piu 2I grossa, e per questo 1'acqua,
che e nella su 22 perfitie, e piu dolcie che
nel fodo; 23 a questa si cotradice colle me-
desime 24 sopradette ragioni, cioe che il
medesimo ac 2 5caderebbe alii paduli e.altre
acque che per il ca! 26 do s'asciugano; Acora
fu detto che 27 la salsedine del mare e
sudore della terra; 28 a questo si rispode
che tutte le uene dell' acque 2 ?che pene-
trano la terra, sarebbono insalate ; Ma 3 si
coclude la salsedine del mare esser nata
3 1 dalle molte vene d'acqua le quali nel
34penetrare la ter^sra trovano $ 6 \Q mini-
37ere del sale, e 3 8 quelle in parte 39 si sol-
uono e por4ta seco all' o^cieano e li altri
4 2 mari, d'643de mai Kli nuvo 44 li, seminatori
is d' elli fiumi If ^\o leuano; ed e'sarebbe
4 7 piu salato il ma^re alii nostri te"49pi che
mai per 5 alcun altro te^po fusse, e se
per 52 1' auersario si dis^cesse, che il tenpo
54 infinite- secchereb ss be over cogielereb5 6 be
il mare in sa S7 le, a questo s s si risponde,
che 59tal sale si re 6o de alia terra 6l colla
liberatione 62 d' essa terra, che 6 3 s' inalza col
suo 64 acquistato sale, 65 e li fiumi lo rendo-
66 no alia somersa terra.

because all the sweet and subtle portions which
the heat attracts easily being taken away, the
more bitter and coarser part will remain, and
thus the water on the surface is fresher than
at the bottom [22]; but this is contradicted
by the same reason given above, which is,
that the same thing would happen in marshes
and other waters, which are dried up by the
heat. Again, it has been said that the
saltness of the sea is the sweat of the
earth; to this it may be answered that all
the springs of water which penetrate through
the earth, would then be salt. But the con-
clusion is, that the saltness of the sea must
proceed from the many springs of water which,
as they penetrate into the earth, find mines
of salt and these they dissolve in part, and
carry with them to the ocean and the other
seas, whence the clouds, the begetters of
rivers, never carry it up. And the sea
would be salter in our times than ever it
was at any time; and if the adversary were
to say that in infinite time the sea would
dry up or congeal into salt, to this I ans-
wer that this salt is restored to the earth
by the setting free of that part of the earth
which rises out of the sea with the salt it
has acquired, and the rivers return it to the
earth under the sea.

G. 49*]

947-

Terza e vlti 2 ma ragione di3remo, il sale
4 essere in tutte s le cose create 6 e questo
c' I7.segniano 8 le acque passage per tutte
le ci I0 eneri e calcium delle cose I2 bruciate,
e le J 3orine di qua I4 luche anima I5 le e le
super 1<5 fluita usci^te de' lor cor l8 pi e le
terre, ^nelle quali si 20 couertono 2I le cor-
rutioni 22 di tutte le cose.

2 3Ma a dire meglio, essendo dato il
modo eterno, egli e neciessario 2 *che li
sua popoli sieno acora loro eterni; ode
2 5 eternalmete fu e sarebbe la spetie vmana
cosu 26 matricie del sale; e se tutta la massa

For the third and last reason we will
say that salt is in all created things; and
this we learn from water passed over the
ashes and cinders of burnt things; and the
urine of every animal, and the superfluities
issuing from their bodies, and the earth into
which all things are converted by corruption.

But, to put it better, given that the
world is everlasting, it must be admitted that
its population will also be eternal; hence the
human species has eternally been and would
be consumers of salt; and if all the mass
of the earth were to be turned into salt, it

essottile. 19. chaldo asseti. 20. asspra. 22. fodo |[ contro. 23. acquessta si cotraddicie cholle. 25. chaderebbe . . chal.
26. sassciughano Achora fuddetto. 27. essudore. 28. acquessto . . chettutte. Lines 32 66 are written on the margin.
32. Tf finiscie quel che.- 33. macha di socto-^f 35. trovano [le ve]. 36. [ne del 5] le. 40. secho alloc. 41. elli. 42. mari
[dove] do. 43. de mai (li nuvo. 45. delli fiumi) mai. 46. no leuano ede "sare". 48. nosstri. 50. alchu. 51. fussi esse.
53. ciessi. 54. sechere. 55. cogielere. 57. acquesto. 59. sare. 61. cholla. 65. elli . . reda. 66. somersa.

947. 3. direno . . sale es. 5. chose. 6. ecquessto. 7. segnia [lecho]. 10. enere e chalci. n. ne. 12. elle. 15. elle. 16. fruita
vssci. 17. de de. 18. elle. 19. nelle. 20. couertano. Lines i 27 are written on the margin along the text no 1201 , under
which is the text of lines 23 39, parallel with the lines 40 60. 23. essendo | "dato" il modo "etterno", egli. 24. chelli . .
achora . % . ecterni. 25. etternalmete . . essarebbe lasspetie . . cosu. 26. essettutta. 27. bassterebbe. 28. chonfessare | o

22. Compare No. 948.

190

PHYSICAL GEOGRAPHY.

[948. 949.

della terra fas'?si sale, non basterebbe alii
cibi vmani, per la qual 8 cosa ci bisognia
confessare, o che la spetie del sale * 9 sia
eterna Isieme col modo, o che quella
3mora e rinasca insieme cogli omini d'essa
di jl voratori; Ma se la esperieza c'insegnia
quel iif non avere morte come per il foco si
manife^sta, il qual non la cosuma, e per
1'acqua che di tato si J*sala di quato ella
in se ne risolue, evaporado l'a-qua, sempre
il sale resta nella prima quatita, ^deve
passare per li corpi vmani che in orina,
MO sudore, o altre superfluita fia ritrovato,
e ques^to e il sale che ogni anno si porta
alle citta; aduque 39 cavasi il sale de' lochi,
dov'e piscia; li porci e li veti marini so
salati;

Diremo che la ' pioggia pene 42 tratrice
della terra sia que 44 lla, ch'e sotto 4 5 a lli
fonda 46 meti delle cit^ta e popoli, 48 e sia
quella che per li meati del s la terra re-
s'da la salsedi 52 ne leuata dal s>mare, e
che 54 la mutatio ssdel mare, sta5 6 to sopra
tutti 57 H monti, lo Ia s8 sci per le
ritrovate in essi monti ecc.

would not suffice for all human food [27];
whence we are forced to admit, either that
the species of salt must be everlasting like
the world, or that it dies and is born again
like the men who devour it. But as expe-
rience teaches us that it does not die, as is
evident by fire, which does not consume
it, and by water which becomes salt in pro-
portion to the quantity dissolved in it, and
when it is evaporated the salt always remains
in the original quantity it must pass through
the bodies of men either in the urine or the
sweat or other excretions where it is found
again; and as much salt is thus got rid of
as is carried every year into towns; therefore
salt is dug in places where there is urine.
Sea hogs and sea winds are salt.

We will say that the rains which penetrate
the earth are what is under the foundations
of cities with their inhabitants, and are what
restore through the internal passages of the
earth the saltness taken from the sea; and that
the change in the place of the sea, which has
been over all the mountains, caused it to be left
it there in the mines found in those mountains,&c.

Leic. 21 1\

94 8.

L'acque de' mari salati son dolci nelle

The charac-
teristics of -*

*ea water sua era profondita.

(948. 949). 6

The waters of the salt sea are fresh at
the greatest depths.

G. 38*)

COME L'OCEANO NO PE 2 NETRA INFRA LA

TERRA.

949-

L'oceano no penetra infra la terra, e
que 4 sto c'insegniano le molte e varie vene
d'acque dolsci, le quali in diuersi lochi
d'esso oceano pene 6 trano dal fondo alia
sua superfitie; Ancora il me 7 desimo di-
mostrano li pozzi fatti dopo lo spa 8 tio d'u
miglio remoti dal detto ocieano, 9li quali
s'enpiano d'acqua dolcie, e questo ac I0 cade
perche 1'acqua dolcie e piu sottile che 1'ac-
"qua salata, e per cosegueza piu penetra-
I2 tiva.

'J Qual pesa piu, '*o 1'acqua ghiac'Sciata
o la no I6 ghiacciata?

THAT THE OCEAN DOES NOT PENETRATE UNDER
THE EARTH.

The ocean does not penetrate under the
earth, and this we learn from the many and
various springs of fresh water which, in many
parts of the ocean make their way up from
the bottom to the surface. The same thing
is farther proved by wells dug beyond the
distance of a mile from the said ocean,
which fill with fresh water; and -this hap-
pens because the fresh water is lighter
than salt water and consequently more pene-
trating.

Which weighs most, water when frozen
or when not frozen?

chella. 29. etterna . . chol . . checquella. 30. rinassca . . chogli. 31. Massella essperieza. 32. focho. 33. nolla. 35. sepre
. . ressta. 36. ne vale passare. 37. ritrorato ecq"a". 38. oni. 39. pisscia. 40. direno chelle. 41. piogie. 42. tratrici.
43. sien. 44. Ha. 46. delli ci. 48. sic quella che. 49. de. 60. nessi.

949. loccieano. 2. infralla. 3. loccicano . . infralla . . ecques. 4. cinsegnia . . euuarie. 5. occieano "pe" nene. 7. dimos-
strano li pozi . . losspa. 8. miglio [li quali] remoti. 9. ecquessto. 10. chade . . chellac. n. piu [soct] penetra. Lines
13 16 are written <m the margin. 14. diac. 15. olla. 16. diacciata. 17. dole. 18. chella. 20. chellacquat . . choiro.

947. 1. 27. That is, on the supposition that salt, once consumed, disappears for ever.

950952.]

ON THE OCEAN.

191

PlU PENETRA L'ACQUA DOLCE COTRO l8 AL-

L'ACQUA SALSA, CHE LA SALSA COTRO AL I9 LA
DOLCIE.

20 Che 1'acqua dolcie penetri piu cotro
all'ac 2I qua salsa, che essa salsa cotro alia
dolcie, ci 22 lo manifesta vna sottil tela asci-
utta e 2 3vechia, pendente con equal bas-
sezza 2 4colli sua oppositi stremi nelle due
varie 2 s acque, delle quali le lor superfitie
sie 2<3 d' equal bassezza, e allor si vedra ele-
var 2 9si in alto infra essa pezza tanto piu
1'acqua 28 dolcie, che la salsa, quanto la
dolcie e piu Mieve che essa salsa.

FRESH WATER PENETRATES MORE AGAINST SALT
WATER THAN SALT WATER AGAINST FRESH

WATER.

That fresh water penetrates more against
salt water, than salt water against fresh is
proved by a thin cloth dry and old,
hanging with the two opposite ends equally
low in the two different waters, the surfaces
of which are at an equal level; and it will
then be seen how much higher the fresh
water will rise in this piece of linen than the
salt; by so much is the fresh lighter than
the salt.

C. A. 157 b; 466^]

950.

Tutti li mari mediterrani e li 2 golfi
d'essi mari so fatti da fi3vmi che versano
in mare.

All inland seas and the gulfs of those On the for-
seas, are made by rivers which flow into mof

the sea.

<95- 951)-

C. A. 83 ; 240,5]

951-

Qui SI RENDE RAGIONE DELLI EFFETTI FATTI
.DALLE ACQUE NEL PROPOSITO SITO.

2 Tutti li laghi e tutti li golfi del mare
e tutti li mari mediterrani nascono dalli
fiumi, che in quelli spa^dono le loro acque,
e dalli impedimeti della loro declinatione
4nel Mare Mediterrano, diuisore d' Africa
dall'Europa, e dell'Europa dall'Asia, me-
diate il Nilo e Tanai che in shij versano
le loro acque; Si domada, quale inpedi-
meto e maggiore a proibire il corso delle
sue acque, che no si renda all' oceano.

HERE THE REASON is GIVEN OF THE EFFECTS

PRODUCED BY THE WATERS IN THE ABOVE MEN-
TIONED PLACE.

All the lakes and all the gulfs of the sea
and all inland seas are due to rivers which
distribute their waters into them, and from im-
pediments in their downfall into the Mediter-
ranean which divides Africa from Europe
and Europe from Asia by means of the Nile
and the Don which pour their waters into it.
It is asked what impediment is great en-
ough to stop the course of the waters
which do not reach the ocean.

Ash.' III. 25 a]

DE ONDA.
2 L'onda del mare
senpre ruina 3dinan-
ti alia sua basa, e
quella paHte del col-
mo si trovera piu
bassa che sprima era
piu alta.

952-

OF WAVES.

A Wave Of the r " a *ments
, , n of the sea on

sea always breaks in the land and

vice versa

front of its base, (952954)-
and that portion of
the crest will then be
lowest which before
was highest.

21. dolcie cie. 22. assciuta eo. 23. pendente [cholli] chon. 24. cholli. 26. vedra me eleua "r". 27. si [eleua] in . . tantu.
28. chella . . he piu.

950. i. elli. 2. gholfi.

951. i. effect! .. delle. 2. ettuttili gholfi . . etti ttutti . . nasschano. 3. Dano le . . ed dalli la pedimeu. 4. mediterano . . et
che il. 5. domade . . occieano.

952. 2. Londa [delle] del. 3. ecquella. 4. cholmo. 5. alta sara poi piu has.

952. The page of FRANCESCO DI GIOROIO'S contains some notes on the construction of dams>
Trattatn, on which Leonardo has written this remark, harbours &c.

192

PHYSICAL GEOGRAPHY.

[953-957-

Lac. tot]

Come le riue del ma're al continvo
acquistano terreno inuerso il mezzo del
mare; Come li scogli e promontori 3d e '
mari al continvo ruinano e si consumano;
Come i mediterrani scopriranno i lor fondi
all' aria e sol riserberanno il canale al
maggior fiume, che dentro vi metta, il qualc
correra all'oceano e iui uerseSra le sue

953-

That the shores of the sea constantly
acquire more soil towards the middle of
the sea; that the rocks and promontories of
the sea are constantly being ruined and worn
away; that the Mediterranean seas will in
time discover their bottom to the air, and all
that will be left will be the channel of the
greatest river that enters it; and this will run

acque insieme con quelle di tutti i fiumi, to the ocean and pour its waters into that with

che co seco s' accopagnano.

those of all the rivers that are its tributaries.

Leic. 27

954-

Come il fiume del Po in brieve tenpo
secca il mare Adriano nel 2 medesimo modo
ch'elli asseccd gra parte di Lonbardia.

How the river Pb, in a short time might
dry up the Adriatic sea in the same way as
it has dried up a large part of Lombardy.

C. A. 162^;

955-

IDove e maggior quatita d'acqua, 2 quivi
The ebb and maggior flusso e riflusso; e '1 ^contrario
ftow uSe thc fa nolle acque strette.l
(955-960) *Guarda se '1 mare e nella sorha cre-
scieHe quado la luna nel mezzo del tuo
emi 6 sphero.

Where there is a larger quantity of water,
there is a greater flow and ebb, but the con-
trary in narrow waters.

Look whether the sea is at its greatest
flow when the moon is half way over our
hemisphere [on the meridian].

Leic

956.

Se '1 flusso e riflusso nasce dalla luna
o sole, overo e I'ali 2 tare di questa terrestre
machina; Come il flusso e riflusso e vario
in diuersi paesi e mari.

Whether the flow and ebb are caused by
the moon or the sun, or are the breathing of
this terrestrial machine. That the flow and ebb
are different in different countries and seas.

Leic. 50)

957.

Libro 9 delli scontri de' fiumi e lor
flusso e riflusso; e la medesima 2 causa lo
crea nel mare per causa dello stretto di
Gibiltar, e ancora accade per le uoragini.

Book 9 of the meeting of rivers and their
flow and .ebb. The cause is the same in the
sea, where it is caused by the straits of Gi-
braltar. And again it is caused by whirlpools.

953- 2 - acquisstano . . mezo . . Hscogli. 3. essi chonsumano Come e . . scopiranno . . essol. 4. magor. 5. cosecho

sacopagnano.

954. i. secha. 2. assecho.

953. i. he magior. 2. frusso e refrusso. 4. gharda. 5. mezo.
936. i. frusso e refrusso nassce. 2. tereste . . frusso e refrusso.
957. f. isscontri . . ellor frusso e refrusso ella. 2. chausa . . strett[i] o di gibiltar . . achade . . voraginc.

956. i. Allusion may here be made to the my-
thological explanation of the ebb and flow given
in the Edda. Utgardloki says to Thor (Gylfagin-
ning 48): "When thou wert drinking out of the
hom, and it seemed to thee that it was slow in
emptying a wonder befell, which I should not have
believed possible: the other end of the horn lay in

the sea, which thou sawest not; but when thou shalt
go to the sea, thou shalt see how much thou hast drunk
out of it. And that men now call the ebb tide."

Several passages in various manuscripts treat of
the ebb and flow. In collecting them I have been
guided by the rule only to transcribe those which
named some particular spot.

958.]

ON THE OCEAN.

193

Leic. 66}

958-

DEL FLUSSO E RIFLUSSO.

OF THE FLOW AND EBB.

2 Tutti li mari anno il lor flusso e ri-
flusso in v medesimo tempo, ma pare va-
riarsi, perche li giorni no co^minciano in
vn medesimo tenpo in tutto 1'universo, co-
ciosiache, quado nel nostro emisperio e
mezzo 4 giorno , nelP opposite emisperio e
mezzanotte , e nelle congiuntioni orietali
dell' uno e del' altro emispeSrio comincia la
notte che corre dirieto al giorno, e nelle
congiutioni occidentali d' essi emisperi co-
mincia 6 il giorno che seguita la notte dalla
sua opposita parte ; adunque e conchiuso
che, ancora che '1 7detto accrescimeto
e diminvitione delle altezze de' mari sien
fatte in vn 8 medesimo tenpo, essi mostrano
variarsi per le gia dette cagioni ; sono adun-
que somerse le acque 9 nelle uene partite
dai fondi de' mari, le quali ramificano dentro
al corpo della terra, e rispondono I0 al na-
scimento de' fiumi , i quali al continvo tol-
gono dal fondo il mare al mare andato;
e tolto innvme^rabili volte nella superfitie
un mare al mare ; E se tu volessi , che la
luna, apparendo all'orientale parte I2 del
Mare Mediterrano, comiciasse ad attrarre a
se 1' acque del mare, ne seguirebbe che in-
mediate 13 se ne vedrebbe la sperieza al
fine orietale di tal mare predetto; Ancora
essendo il Mar Medi I4 terrano circa alia
ottava parte della circuferenza della spera
dell acqua, per essere lui 'Slungo 3 mila
miglia, e '1 flusso e riflusso no fa se no 4
volte in 24 ore, e' no s'accorderebbe tale
I6 effetto col tenpo d'esse 24 ore, se esso
Mare Mediterra no fusse lungo semila miglia,
perche x ? se lo spogliameto di tanto mare
avesse a passare per lo stretto di Gibiltar
nel correr dietro l8 alla luna, e' sarebbe si
grade il corso delle acque per tale stretto,
e s'alzerebbe in tata altezza, T 9che dopo
esso stretto farebbe tal corso, che per molte
miglia infra 1'oceano farebbe inodatione e
bolli 20 menti grandissimi, per la qual cosa
sarebbe inpossibile passarui, e dopo questo
subito l'ocea 2I no rederebbe colla medesima
furia F acque ricevute, donde esso le riceve ;

All seas have their flow and ebb in the
same period, but they seem to vary because
the days do not begin at the same time
throughout the universe ; in such wise as that
when it is midday in our hemisphere, it is
midnight in the opposite hemisphere; and at
the Eastern boundary of the two hemispheres
the night begins which follows on the day,
and at the Western boundary of these hemi-
spheres begins the day, which follows the
night from the opposite side. Hence it is
to be inferred that the above mentioned swelling
and diminution in the height of the seas,
although they take place in one and the
same space of time, are seen to vary from
the above mentioned causes. The waters are
then withdrawn into the fissures which start from
the depths of the sea and which ramify in-
side the body of the earth, corresponding to
the sources of rivers, which are constantly
taking from the bottom of the sea the water
which has flowed into it. A sea of water is
incessantly being drawn off from the surface of
the sea. And if you should think that the moon,
rising at the Eastern end of the Mediterranean
sea must there begin to attract to herself the
waters of the sea, it would follow that we
must at once see the effect of it at the Eas-
tern end of that sea. Again, as the Mediter-
ranean sea is about the eighth part of the cir-
cumference of . the aqueous sphere, being
3000 miles long, while the flow and ebb only
occur 4 times in 24 hours, these results
would not agree with the time of 24 hours,
unless this Mediterranean sea were six
thousand miles in length; because if such a
superabundance of water had to pass through
the straits of Gibraltar in running behind the
moon, the rush of the \vater through that
strait would be so great, and would rise
to such a height, that beyond the straits it
would for many miles rush so violently
into the ocean as to cause floods and
tremendous seething, so that it would be
impossible to pass through. This agitated
ocean would afterwards return the waters it

958. i. frusso e refrusso. 2. frusso e refrusso nv . . gorni no cho- 3. mincano. 3. concosia . . nosstro . . mez. 4. gorno . .
oposito . . mezanotte . . conguntioni . . emisspe. 5. cominca . . gorno . . congutioni ocidentali . . comica. 6. gorno . . opo-
sita. 7. acresscimeto . . dellellalteze de mari ancora chelle . . nvn. 8. mostra . . chagoni . . somerse. 9. defondi ramifichano
. . rispondano. 10. nasscimento De . . tolgano '-del fondo" [e rendano] il . . andato "e tolto" invmerabili volte "nella
superfitie" umare . . Essettu . . chella . . aparendo. 12. mediterano comicassi . . asse. 13. lassperieza . . mare "predetto".
14. terano circha . . acqu"a". 15. lungho . . frusso e refrusso . . sacorderebe. 16. meditera fussi lungho. 17. sello . .
avessi . . dirie. 18. sarebe . . essalzerebe. 19. hesso . . infrall . . ebbolli. 21. rederebbe . . riceve . . echoche. 22. passerebe . .

VOL. ii. BB

194

PHYSICAL GEOGRAPHY.

[959-

ecco che aduque mai si "passerebbe per
tale stretto-, e la sperieza mostra che
d'ogni ora vi si passa, saluo che quado il
uento ''vie per la linia della correte, allora
il riflusso forte s'aumeta-; II mare non
alza 1'acqua nelli 2 stretti che anno vscita
ma ben s'ingorga e si ritarda dinati a
quelli , onde con furioso moto a s poi ristora
il tempo del suo ritardameto insino al fin
del suo moto riflesso.

had received with equal fury to the place they
had come from, so that no one ever could pass
through those straits. Now experience shows
that at every hour they are passed in safety, but
when the wind sets in the same direction as
the current, the strong ebb increases [23]. The
sea does not raise the water that has issued
from the straits, but it checks them and this
retards the tide; then it makes up with fu-
rious haste for the time it has lost until the
end of the ebb movement.

Leic. ,3-) 959-

Come jl flusso e riflusso non e generale, That the flow and ebb are not general;

perche 2 in riuiera di Genova non fa niete, for on the shore at Genoa there is none, at
a Vinegia due braccia, tra la Inghilterra Venice two braccia, between England and
e Fiandra fa 18 braccia; 3 Come per lo
stretto di Sicilia la correte e gradissima,

Flanders 18 braccia. That in the straits of
Sicily the current is very strong because
perchd di H passa tutte 1'acque de' fiumi all the waters from the rivers that flow into

che uersa 4 nel Mare Adriatico.

the Adriatic pass there.

Leic. 35 \

960.

Nelle parti occidentali , appresso alia
Fiandra, il mare cresce e maca ogni 6 ore
circa 20 braccia, 2 e 22 quado la luna
in suo fauore, ma le 20 braccia e il suo
ordinario, il quale ordinario manifestamete
si uede >non essere per cavsa della luna;
Questa varieta del crescere e discrescere
del mare ogni 6 ore pu6 4 accadere per le
ringorgationi delle acque, le quali son con-
dotte nel Mare Mediterrano da quella quan-
tita de' fiu s mi dell' Africa Asia ed Evropa,
che in esso mare versano le loro acque, le
quali per lo stretto di Gibiltar infra Abila

In the West, near to Flanders, the sea
rises and decreases every 6 hours about 20
braccia, and 22 when the moon is in its
favour; but 20 braccia is the general rule,
and this rule, as it is evident, cannot have
the moon for its cause. This variation in
the increase and decrease of the sea every
6 hours may arise from the damming up of
the waters, which are poured into the
Mediterranean by the quantity of rivers from
Africa, Asia and Europe, which flow into that
sea, and the waters which are given to it by
those rivers; it pours them to the ocean

ella . . ora usi passa. 23. refrus.so . . lacq"a". 24. vsscita [ne in quelli] ma ben siningorgha "essiritarda . . acquelli onde

poi con. 25. tenpo [chechej del . . refresso.

9S9- i. frusso e rcfrusso. 2. genva . . uinegia due br tralla ingilterra . . 18 br. 3. cicilia lacorete. 4. adriatico.
960. i. parte hoccidentale . . cressce "e macha . . circha 20 bra. 2. 20 br quale "ordinario". 3. chavsa . . cressciere e dis-

cretscere ore po. 4. achadere . . mediterano da "quella". 5. africha . . versano "le loro acque" le . . abile e calpe.

958. 23. In attempting to get out of the Mediter-
ranean, vessels are sometimes detained for a con-
siderable time; not merely by the causes mentioned
by Leonardo but by the constant current flowing
eastwards through the middle of the straits of
Gibraltar.

959- A few more recent data may be given here
to facilitate comparison. In the Adriatic the tide
rises 2 and '/ feet, at Terracina l/ 4 . In the Eng-
lish channel between Calais and Kent it rises from
1 8 to 20 feet In the straits of Messina it rises no
more than 2 ' /2 feet, and that only in stormy weather,
but the current is all the stronger. When Leo-

nardo accounts for this by the southward flow of
all the Italian rivers along the coasts, the expla-
nation is at least based on a correct observation;
namely that a steady current flows southwards along
the coast of Calabria and another northwards, along
the shores of Sicily; he seems to infer, from the
direction of the fust, that the tide in the Adriatic
is caused by it.

960. 5. Abila, Lat. Abyla, Gr. 'Ap<iATj, now Surra
Ximiera near Ceuta; Calpe, I,at. Calpe. Gr. KdtXTti],
now Gibraltar. Leonardo here uses the ancient
names of the rocks, which were known as the Pil-
lars of Hercules.

96o.]

ON THE OCEAN.

195

e Calpe 6 promotori rende all'occeano le
acque che da essi fiumi li son date, jl quale
oceano, astendendosi 7 infra le isole d'ln-
ghilterra e 1'altre piu settetrionali, si uiene
a ringorgare e tenere in collo per diuersi
golfi, 8 li quali, essendo tali mari discostati-
si colla lor superfitie dal centre del modo ,
anno acquistato peso, il quale, 9poiche
supera la potentia dell'avenimeto delle
acque che lo cavsauano, essa acqua ripiglia
im I0 peto in contrario al suo avenimeto, e
fa impeto contro alii stretti, che li davano
1' acque e massime fa "contra lo stretto di
Gibiltar, il quale per alquato spatio di tenpo
rima ringorgato e viene a riseruarsi tut I2 te
1' acque che di novo in tal tenpo li so date
dalli gia detti fiumi, e questa mi pare una
delle ragioni che T 3si potrebbe assegnare
della causa d'esso flusso e riflusso, come
nella 21 a del 4* della mia teori^ca e provato.

through the straits of Gibraltar, between Abila
and Calpe [5]. That ocean extends to the island
of England and others farther North, and it
becomes dammed up and kept high in
various gulfs. These, being seas of which
the surface is remote from the centre of the
earth, have acquired a weight, which as it is
greater than the force of the incoming waters
which cause it, gives this water an impetus
in the contrary direction to that in which it
came and it is borne back to meet the waters
coming out of the straits ; and this it does
most against the straits of Gibraltar; these,
so long as this goes on, remain dammed up
and all the water which is poured out
meanwhile by the aforementioned rivers, is
pent up [in the Mediterranean]; and this
might be assigned as the cause of its flow
and ebb, as is shown in the 2i st of the
4 th of my theory.

6. asslendendosi. 7. infralle isola digilterra ellaltre . . settatrionali . . ettenere. 8. cholla . .del mo . ' ano. 9. chello
. . ripiglia e. 10. peto . . inpito . . chelli. 12. ta .lacq"a" . . ga detti . . ecquesti . . chausa . . frusso e
refrusso comi. 14. cha e.

in.

SUBTERRANEAN WATER COURSES.

Theory of
the circula-
tion of the
waters

(961. 962).

C. A. 157 <*; 4664]

Gradissimi fiumi corrono 2 sotto terra.

961.

Leic. 310]

Qui s'a a Imagina 2 re la terra
pel mez*zo,- e vedrannosi Me pro-
fondita 6 del mare e della' ? terra;
8 le uene si partono 9 da' fondi de'
ma I0 ri e tessono la "terra, e si
Ieua l2 no alia sommita ^de'moti,
e riuer^sano per li fiumi e 'Sritor-
nano al ma l6 re.

962.

1 segata

Very large rivers flow under ground.

This is meant to represent the earth cut through
in the middle, showing the depths of
the sea and of the earth ; the waters
start from the bottom of the seas,
and ramifying through the earth
they rise to the summits of the
mountains, flowing back by the
rivers and returning to the sea.

Leic. xi 6]

Raggirasi 1' acqua con cotinvo moto dal-
observationsl'infime profondita de' mari alle altissime
'ik.. S k!^t.? f somita de' moti, non osseruando 2 la natura

menypotne- '.

delle cose gram, e in questo caso fanno .
come il sangue delli animali, che sempre
si 3moue dal mare del core e scorre alia
somita delle loro teste, e quiui roponsi le
uene, come si uede una vena rotta nel
naso, che tutto il sangue da basso si leua

(963-969).

The waters circulate with constant motion
from the utmost depths of the sea to the
highest summits of the mountains, not obeying
the nature of heavy matter; and in this case
it acts as ' does the blood of animals which
is always moving from the sea of the heart
and flows to the top of their heads; and here
it is that veins burst as one may see when
a vein bursts in the nose, that all the blood

961. i. cori.

969. 4. uedrassi. 7. [e come]. 8. parta. 10. cttessano. ix. essi.

963. i. Rogirasi. 2. fa . . animati. 3. move [dal lago] "dal mare" del . . tesste . . e chi quiui ropasi. 4. chettutto . . alteza

963. The greater part of this passage has been given as No. 849 in the section on Anatomy.

964966.]

SUBTERRANEAN WATER COURSES.

I 97

alia altezza della rotta vena; s Quando
1'acqua escie della rotta vena della terra,
essa osserua la natura dell'altre cose piv
gravi 6 che 1' aria, onde senpre cerca i lochi
bassi. 7 Vaiio 8 le uene scorredo con Ifinita
ramificatione pel corpo della terra.

from below rises to the level of the burst
vein. When the water rushes out of a burst
vein in the earth it obeys the nature of other
things heavier than the air, whence it always
seeks the lowest places. [7] These waters
traverse the body of the earth with infinite
ramifications.

Br. M. 233,5]

964.

Quella cavsa, che move li umori in tutte The same cause which stirs the humours

le spetie de' corpi animati e che co quelle j n eve ry species of animal body and by

soccorrea ogni lesione, 2 move 1'acqua dal- which eye inj is repaired a i so moves
1 mfima profodita del mare alia soma altezza

de' moti, 3 e come 1'acqua si leua dalle the waters from the utmost de P th of the sea

* inferior! parti della vite all'alte tagliature. to the greatest heights.

Br. M. 236,5]

L' acqua e proprio quella che per vitale
umore 2 di questa arida terra e dedicata ,
e ^ quella cavsa che la move per le sue
rami 4 ficate vene cotro al natural corso del-
sle cose gravi , e proprio quella che mo 6 ve
li umori in tutte le spetie de'
corpi 7 animati; Ma quella, con
soma ami 8 ratio de' sua contem-
planti, daH'infima pro^fondita
del mare all' altissime somita
10 de' moti si leua, e per le
rotte vene ver 1 'sando al basso
mare ritorna, e di novo I2 con
celerita sormota, e all' -ati-
detto de^sceso ritorna-, cosl
dalle parti intri I4 siche al-
1'esteriori -, cosl dalle infime
alle I5 superiori, voltado quado
con naturale cor l5 so ruina , cosl insieme
cogiunta, co ^cotinua revolutione, l8 per
li terrestri meati si ua raggirado.

It is the property of water that it con-
stitutes the vital human of this arid earth;
and the cause which moves it through its
ramified veins , against the natural course of
heavy matters, is the same property which
moves the humours in every spe-
cies of animal body. But that
which crowns our wonder in
contemplating it is, that it rises
from the utmost depths of the
sea to the highest tops of the
mountains, and flowing from
the opened veins returns to the
low seas; then once more, and
with extreme swiftness, it mounts
again and returns by the same
descent, thus rising from the
inside to the outside, and
going round from the lowest to the high-
est, from whence it rushes down in a
natural course. Thus by these two move-
ments combined in a constant circulation,
it travels through the veins of the earth.

G. 7 o] 966.

SE L' ACQUA PUO MOTARE DAL MARE 2 ALLE WHETHER WATER RISES FROM THE SEA TO THE
CIME BELLI MONTI. TOPS OF MOUNTAINS.

3 II mare oceano no puo penetrare 4 dalle The water of the ocean cannot make its way

radici alle cime de' moti che con lui Scon- from the bases to the tops of the mountains

. . ve "ne". 5. esscie. 6. grave chellaria . . cercha.

964. i. socore . . lesione. 2. frofodita . . alteza. 3. come [il sangue] lacq"a". 4. tagliature de. here the text breaks off.

965. i. lacq"a" . . omore. 2. quessta . . dedichata. 4. chotro . de. 5. chose. 6. omori . . lesspetie. 7. che chosoma ami.
8. contenplanti | "e che" dall. 10. rocte. 12. cono celerita . . 3is. 13. scienso. 15. cho. 17. cotinua revoluitione siua
[ragirado]. 18. teresti . . ragirado.

966. i. sellacq"a" motare. 3. occieano. 4. radicie . . collui. 5. sul si leua quato la seccita. 6. Esse. 7. cheppienetra.

198

PHYSICAL GEOGRAPHY.

[967.

finano, ma solo si leua quado la secchita
6 del mote ne tira; E se per 1'aversario la
7 pioggia, che penetra dalla cima del monte
8 alle radici sua, che col mare confinano,
disce'de e mollifica la spiaggia opposta
del me lo desimo monte e tira al continuo,
si come M fa la cicogniola che versa per il
suo lato piu lu"go, fusse quella che tira
in alto 1' acqua del 'Jmare; come se s n
fusse la pelle del ma're, e la pioggia di-
scende dalla cima del mo 'He a allo n da
vn lato e dall'altro lato di' 6 scede
da a allo w, sanza dubbio que' 7 sto
sarebbe il modo dello stillare a
feltro o l8 come si fa per la canna ^
detta cico'9gniola, e senpre 1'ac- ^
qua che a mollificato 20 il monte in
per la gran pioggia, che discende
da! 2I li due oppositi lati, tirerebbe a se al
lato 22 piu lugo la pioggia a n insieme
coll' acqua 2 - } del mare perpetuamete , se il
lato del mote **a m fusse piu lugo che
1'altro a n, il che essere 25 no puo, perche
nessuna parte di terra che no 26 sia so-
mersa dall'oceano sara piu bassa 2 ?d'esso
oceano ecc.

which bound it, but only so much rises as
the dryness of the mountain attracts. And if,
on the contrary, the rain, which pene-
trates from the summit of the mountain to
the base, which is the boundary of the sea;
descends and softens the slope opposite to
the said mountain and constantly draws the
water, like a syphon [n] which pours through
its longest side, it must be this which
draws up the water of the sea; thus if sn were
the surface of the sea, and the rain descends
from the top of the mountain a to n
on one side, and on the other sides
it descends from a to m, without a
doubt this would occur after the
manner of distilling through felt, or
as happens through the tubes called
syphons [17]. And at all times the
water which has softened the mountain, by
the great rain which runs down the two
opposite sides, would constantly attract the
rain a , on its longest side together with the
water from the sea, if that side of the
mountain a m were longer than the other a
#; but this cannot be, because no part of the
earth which is not submerged by the ocean
can be lower than that ocean.

n s

A. 55*1

967.

DELLE VENE DEL' ACQUA SOPRA LE CIME DELLE
MOTAGNIE.

2 Chiaro apparisce che tutta la super-
fitie delPocieano , quado non a fortuna , e
di pan distatia 3 al cietro della terra , e
che le cime delle motagnie sono tanto piv
lontane da esso ''cietro quato elle s'alzano

sopra alia superfitie d' esso mare ; Adu-
que se'l corpo della s terra non avesse simi-
litudine coll' omo, sarebbe inpossibile che
1' acqua del mare, essendo tato 6 piv bassa

che le motagnie , ch' ella potesse di sua
natura salire alle sommita d' esse motag-
nie ; 7 Onde e da credere che quella ca-
gione , che tiene il sangue nella somita
della testa dell' omo, 8 quella medesima
tenga 1' acqua nella sommita de' monti.

OF SPRINGS OF WATER ON THE TOPS OF

MOUNTAINS.

It is quite evident that the whole surface
of the ocean when there is no storm is at
an equal distance from the centre of the
earth, and that the tops of the mountains
are farther from this centre in proportion as
they rise above the surface of that sea;
therefore if the body of the earth were
not like that of man, it would be impossible
that the waters of the sea being so much
lower than the mountains could by their
nature rise up to the summits of these
mountains. Hence it is to be believed that
the same cause which keeps the blood at
the top of the head in man keeps the water
at the summits of the mountains.

8. chol . . chonfin.1 disscie. 9. mollifiche. 10. cttira. 12. gho fussi . . chettira. 13. chome . . fusse. 14. ella . . disciende
alia. 15. da ullato. 16. disciede . . dubbio che. 17. aflfeltro. 18. chome . . lla channa [decta], 19. essenpre . . mollifi-
chato. 20. cheddissciede. ai. asse il lato. 22. lugho . . chollacq"a". 23. sellatto. 24. fussi . . lugho chellaltro.
26. occieano. 27. occieano.

967. i. acq"a". 2. aparisscie . . chella "tutu". 3. tera e chclle . . motagni "e" . . esso [mare]. 4. sopa . . chorpo. 5. tera
. . avessi . . choll . . chellacqua. 7. chccquella chagione . chettiene . . somita. 8. lacq"a".

966. n, 17. Cicognola, Syphon. See VoL I,
PL XXIV, No. I.

967. 968. This conception of the rising of the

blood, which has given rise to the comparison,
was recognised as erroneous by Leonardo him-
self at a later period. It must be remembered that

968.

SUBTERRANEAN WATER COURSES.

199

A. 5 6a]

DELLA COFERMATIONE PERCHE L'ACQUA E
NELLE SOMITA DE'MOTI.

968.

2 Dico che siccome il naturale calore

tiene il sague nelle uene alia sommita
dell'omo, 3 e quado lo omo e morto, esso
.sangue freddo si riduce 4 ne' lochi bassi ,
e, quado il sole riscalda la testa all' omo,
s moltiplica e sopraviene tato sangue con
omori , che forzado le uene 6 gienera spesso
dolori di testa , similemete le uene , che
vanno ramificado 1 per il corpo della terra

e per lo naturale calore, ch' e sparso
per tutto il coti 8 nete corpo , 1'aqua sta-
per le uene eleuate alPalte cime de' moti;
E queNa acqua , che passasi per uno
condotto mvrato nel corpo d' essa motag-
nia, I0 come cosa morta non uscira dalla

sua prima bassezza , perche non e "ri-
scaldata dal uitale calore della prima
vena ; ancora il calore 12 dell'elemeto del
fuoco , e il giorno il caldo - del sole , anno
potetia disuegliere ^I'umidita -de' bassi lochi

de' moti e tirare in alto nel medesimo
modo ch'ella ^tira.i nvvoli e sueglie la
loro vmidita dal letto del mare.

CONFIRMATION OF WHY THE WATER GOES
TO THE TOPS OF MOUNTAINS.

I say that just as the natural heat of
the blood in the veins keeps it in the head
of man, for when the man is dead the
cold blood sinks to the lower parts and
when the sun is hot on the head of a man
the blood increases and rises so much, with
other humours, that by pressure in the veins
pains in the head are often caused; in
the same way veins ramify through the
body of the earth, and by the natural heat
which is distributed throughout the containing
body, the water is raised through the veins
to the tops of mountains. And this water,
which passes through a closed conduit inside
the body of the mountain like a dead thing,
cannot come forth from its low place unless
it is warmed by the vital heat of the spring
time. Again, the heat of the element of fire
and, by day, the heat of the sun, have power
to draw forth the moisture of the low parts of
the mountains and to draw them up, in the
same way as it draws the clouds and collects
their moisture from the bed of the sea.

Leic. us]

969.

Come molte vene d' acqua salata si tro-
vano fortemete distanti dal 2 mare, e questo
potrebbe accadere, perche tal uena passasse
per qualche miniera di sale come quella
d' Ungheria, che si caua 3 il sale per le gran-
dissime cave, come quasi cavano le pietre.

That many springs of salt water are
found at great distances from the sea; this
might happen because such springs pass
through some mine of salt, like that in
Hungary where salt is hewn out of vast
caverns, just as stone is hewn.

968. i. chofermatioae . . lacq"a". 2. dicho chessichome . . chalore tie "il sague" leuene . ala somita. 3. [cho] e quado [esso]
"lo" omo . . fredo. 4. bassi [chosi] echauado il . . risschalda [il n] la. 5. molti pricha essopraviene . . chon . . cheffor-
zado. 6. vano ramifichado. 7. locho'rpo . . tera . . chalori chessparso . . choti. 8. chorpo . . elleuate . . Ecque. 9. per
i chondotto . . chorpo. 10. chorae chosa . . vsscira della . . basseza . none. u. rischaldata . . chalore anchora il chalore.
12. focho . . chaldo . sole a . dissuegliere. 13. lochi "de moti" ettirare. 14. nvboli essueglie . . delletto.

969. i. trova . . distante . . da. 2. ecquesto . . achadere . . passasi . . chessi. 3. quasi caua.

the MS. A, from which these passages are taken,
was written about twenty years earlier than the MS.
Leic. (Nos. 963 and 849) and twenty-five years be-
fore the MS. W. An. IV.

There is, in the original a sketch with No. 968
which is not reproduced. It represents a hill of
the same shape, as that shown at No. 982. There

are veins, or branched streams, on the side of the
hill, like those on the skull PL CVIII/No. 4.

969. The great mine of Wieliczka in Galicia,
out of which a million cwt. of rock-salt are
annually dug out, extends for 3000 metres from
West to East, and 1150 metres from North to
South.

IV.

OF RIVERS.

Lcic.

970.

DELLE DIRIUATIONI DE'FIUMI.

OF THE ORIGIN OF RIVERS.

on the

2 II corpo della terra, a similitudine de'
way corpi deli animali, e tessuto di ramification!
oV di uene, le quali son tutte insieme cogiunte,
are j e son constituite a nvtrimento e viuifica-
tione d'essa terra e de' sua creati ; partono
dalle profondita del mare, e a quelle dopo
molta revolutio+ne anno a tornare per li
fiumi creati dalle alte rotture d'esse uene;
e se tu volessi dire, le pioSve il uerno o
la resolutione della neue Testate essere
causa del nascimento de' fiumi, e' si ti po-
trebbe allegare 6 li fiumi, che anno origine
ne' paesi focosi dell' Africa, nella quale non
piove e meno nevica, perche il superchio
?caldo senpre risolue in aria tutti li nuvoli,
che da ueti in la son sospinti; e se tu di-
cessi che tali fiumi, che ue 8 gono grossi il
Luglio e '1 Agosto, son delle nevi che si risol-
uono il Maggio e '1 Giugnio per 1' appressa-
meto del sole alle ne^ui delle montagnie
di Scitia, e che tali resolutioni si riducono
in certe valli e fanno laghi, doue poi en-
trano per le I0 vene e caue sotterane, le

The body of the earth, like the bodies of
animals, is intersected with ramifications of
waters which are all in connection and are
constituted to give nutriment and life to the
earth and to its creatures. These come from
the depth of the sea and, after many revolu-
tions, have to return to it by the rivers
created by the bursting of these springs;
and if you chose to say that the rains of
the winter or the melting of the snows in
summer were the cause of the birth of rivers,
I could mention the rivers which originate
in the torrid countries of Africa, where it
never rains and still less snows because the
intense heat always melts into air all the
clouds which are borne thither by the winds.
And if you chose to say that such rivers, as
increase in July and August, come from the
snows which melt in May and June from the
sun's approach to the snows on the mountains
of Scythiafp], and that such meltings come
down into certain valleys and form lakes,
into which they enter by springs and subter-

970. i. assimi . . ettessudi di ramifichatione . . cogunte. 3. consstit ite "a nvtrimento" e viuifichatione . . terra | 4l e de sua
creati" essi partano delle . . acquelle. 4. ano attornare . . e,settu. 5. olla . lastate . . chausa . . nassciinento . . portrebbe.
6. fochosi africha . . nevicha. 7. chaldo . . nvoli . . ilia . . sosspinte . . essettu . . chcttali. 8. gano . . ellagosto . . chessi^
. . lapressamcto . . mago . . gugnio. 9. disscitia . . riduchano . . eflano lagh. 10. riescano . . effalso inperochelle . . las.
II. chellorigine . . concosia chclla.

970. 9. Scythia means here, as in Ancient Geography, the whole of the Northern part of Asia as
far as India.

. 972.]

OF RIVERS.

2O I

quali riescono poi all' origine del Nilo, questo
e falso, inperoche e piv bassa la "Scitia
che F origine del Nilo, conciosiache la Scitia
e presso al mare di Poto a 400 miglia,
e F origine del Nilo e I2 remote 3000
miglia dal mare d' Egitto, ove versa le sue
acque.

ranean caves to issue forth again at the
sources of the Nile, this is false; because
Scythia is lower than the sources of the Nile,
and, besides, Scythia is only 400 miles from the
Black sea and the sources of the Nile are
3000 miles distant from the sea of Egypt
into which its waters flow.

Leic. 5

971.

Libro 9 delli scontri de' fiumi e lor
flusso e riflusso, e la medesima 2 causa
lo crea nel mare per causa dello stretto
di Gibilterra, e ancora accade per le
uoragini ;

3Se due fiumi insieme si scontrano per
vna medesima linia, la qual sia retta, poi
infra 2 angoli retti 4pigliano insieme lor
corso , e' seguira il flusso e riflusso ora a
F uno fiume, ora all' altro, avanti s che sieno
vniti e massime, se F uscita nella loro vni-
tione no sara piv veloce, che quad' era dis-
uniti; 6 Qui accadono 4 casi.

Book 9, of the meeting of rivers and of The tide in
their ebb and flow. The cause is the same e
in the sea, where it is caused by the straits
of Gibraltar; and again it is caused by whirl-
pools.

[3] If two rivers meet together to form
a straight line, and then below two right
angles take their course together, the flow
and ebb will happen now in one river and
now in the other above their confluence, and
principally if the outlet for their united vo-
lume is no swifter than when they were se-
parate. Here occur 4 instances.

Leic. 15 a]

972.

Quando il fiume minore versa le sue
acque nel maggiore, il quale maggiore
corra dall' opposita 2 riua, allora il corso del
fiume minore pieghera
il suo corso inverse
Fauenimeto del fiume
3 maggiore ; e questo
accade perche, quando
esso maggiore fiume
enpie d'acqua tutto il
suo letto, e' 4 gll viene a
fare ritroso sotto la
bocca di tal fiume, e
cosl spingnie co seco
F acqua versata dal
fisvme minore ; Quando
il fiume minore versa
le sue acque nel fiume
maggiore, il quale 6 ab-
bia la corrente alia foce del minore, allora
le sue acque si piegheranno inverse la
fu7ga del fiume maggiore.

When a smaller river pours its waters On the aite-
into a larger one, and that larger one flows "ed'Tn thT
from the opposite direction, the course of c i "^s S b f
the smaller river will their con-
bend up against the ap- ( ^-^.
proach of the larger
river; and this happens
because, when the lar-
ger river fills up all its
bed with water, it makes
an eddy in front of the
mouth of the other river,
and so carries the water
poured in by the smaller
river with its own.
When the smaller river
pours its waters into
the larger one, which
runs across the current

at the mouth of the smaller river, its waters
will bend with the downward movement of
the larger river.

971. i. isscontri . . ellor frusso e refrusso alta. 2. chausa . . strett [i] o di gibiltar . . achade . . uoragine. 3. retta e poi.

4. piglino . . refrusso. 5. chessieno . . lusscita nedella. 6. achade 4 chasi.
973. i. magore il equal "magore" corra "dall oposita riua" [remoto dalla sua]. 2. piegera. 3. magore ecquesto acchade . .

magor . . letto el. 4. affare retroso . . bocha. 5. magore. 6. minor (fiume] allora . . piegeranno. 7. magore.

971. The first two lines of this passage have
already been given as No. 957. In the margin,
near line 3 of this passage, the text given as
No. 919 is written.

VOL. a.

972. In the original sketches the word Arno is
written at the spot here marked A, at R. Rifredi,
and at M. Mn^none.

PHYSICAL GEOGRAPHY.

[973975-

Uic. i6J]

Quando le piene de' fiumi so 'diminuite -,
allor li angoli acuti, che si genera
nelle congiuntioni de' sua rami, si a
(anno piv cor^ti nelli lor lati e piu
grossi nelle lor punte, come sia la
corrente an, e la corrente d n,
Me quali si congiunghino insieme
in-//, quando il fiume nelle sue
gran piene; dico che, quando sia
snella predetta dispositione , che
se d n avanti la piena era piv basso
che a ;/, che nel tempo della piena
6 d n sara pie di rena e fango, il quale
nel calare delle acque d n portera
uia il fango e rimar^rk col fondo
basso, e '1 canale a n, trovandosi
alto, scolera le sue acque nel basso
d n e consumera tutta 8 la
punta del renaio b c , e
cosl rimarra 1'angolo a c d
piv grosso che 1'angolo a n
d, e di lati piu corti, come
sprima dissi.

973-

When the fulness of rivers is diminished,
then the acute angles formed at the
junction of their branches become shorter
at the sides and wider at the point;
like the current a n and the current
d n, which unite in n when the river
is at its greatest fulness. I say, that
when it is in this condition if, be-
fore the fullest time, d n was lower
than an, at the time of ful-
ness d n will be full of sand and
mud. When the water d n falls, it
will carry away the mud and remain
with a lower bottom, and the chan-
nel a n finding itself the higher, will
fling its waters into the lower, d n,
and will wash away all the point of
the sand-spit b n c, and thus
the angle a c d will remain
larger than the angle and
and the sides shorter, as I said
before.

G. 48-]

974-

AQUA.

DEL MOTO D'U SUBITO ENPITO FATTO 3 DA UN
FIUME SOPRA IL SUO LETTO ASCIUTTO.

4 Tanto e piu tardo o velocie il corso
dell'acqua, 5 data dallo isboccato lago al
secco fivme, qua 6 to esso fiume fia piu largo
o piv stretto, over ? piu piano o cupo in
un loco che in un altro, 8 per quel che e
proposto: il flusso e ri^flusso del mare che
dallo oceano entra nel Me I0 diterraneo Mare
e de' fiumi, che giostrano "con lui, alzano
tanto piu o meno le loro acque, I2 quanto
tal mare e piv o meno stretto.

WATER.

OF THE MOVEMENT OF A SUDDEN RUSH MADE
BY A RIVER IN ITS BED PREVIOUSLY DRY.

In proportion as the current of the water
given forth by the draining of the lake is slow
or rapid in the dry river bed, so will this
river be wider or narrower, or shallower or
deeper in one place than another, according
to this proposition: the flow and ebb of the
sea which enters the Mediterranean from the
ocean, and of the rivers which meet and struggle
with it, will raise their waters more or less
in proportion as the sea is wider or narrower.

c. A. y>tb\

975-

whirlpool*. Voragine, cioe caverne, 2 cioe residui Whirlpools, that is to say caverns; that

d' acque pre^cipitose. is to say places left by precipitated waters.

973- * conguntione. 3. corente . . ella corcnte. 4. congunghino . . dicho. 5. predecta disspositione chesse. 6. eflTango . .
rima. 8. cori riraara lanolo . . groso.

974. j. da u . . assciucto. 4. eppiu . . chorpo . . acq"a". 5. isbochato lagho . . secho. 6. largho . . strecto. 7. ochupo nu
locho che inu. 8. propossto . . e re. 9. frusso . . dello occieano. 10. mediterano . . giosstrano. xi. cho. 12. eppiu
. . strecto.

975. 2. coe residii. 3. cipitosa.

973. Above the first sketch we find, in the original, this note: "Sofira il pott rubaeonU alia toiri-
rella"; and by the second, -which represents a pier of a bridge, "Sotto I'ospedal del

974. In the margin is a sketch of a river which winds so as to form islands.

976-978-]

OF RIVERS.

203

976.

DELLA VIBRATIONE DELLA TERRA.

2 Li corsi sotterranei 3 delle acque, sicome
quelli che son fatti infra ^I'aria e la terra,
son quelli che al continue scosumano e
profondano li letti de! 6 li lor corsi.

OF THE VIBRATION OF THE EARTH.

The subterranean channels of waters, like On the ahe-
those which exist between the air and the'^SeSof
earth, are those which unceasingly wear rivers -
away and deepen the beds of their currents.

Leic. 66}

977-

II fiume che esce de' moti pone gran
quatita di sassi grossi in nel suo ghiareto,
i quali fatti sono ancora 2 con parte de'
sua angoli e lati, e nel processo del corso
conduce pietre minori con angoli piv co-
sumati, cioe le gra 3 pietre fa minori, e piv
oltre po ghiaia grossa, e poi minvta , e
seguita rena grossa, e poi minvta, dipoi
precede 4 litta grossa, e poi piv sottile, e
cosl seguedo giugne al mare 1'acqua turba
di rena e di litta; la rena scarica sopra
de' slid marini per il rigurgitameto dell' ode
salse, e segue la litta di tanta sottilita che
par di natura d'acqua, la qual non si fer-
b ma sopra de' marl liti, ma ritorna indietro
coll'acqua per la sua leuita, perch' e nata
di foglie marcie e d'altre cose leuissime,
si 7 che, essendo quasi, com'e detto, di
natura d'acqua, essa poi in tenpo di bo-
naccia si scarica e si ferma sopra del
8 fondo del mare, ove per la sua sottilita
si condensa e resiste all'onde che sopra
vi passano per la sua lubricita, e 9qui
stanno i nichi e quest' e terra bianca da
far boccali.

A river that flows from mountains The
deposits a great quantity of large stones ini n t
its bed, which still have some of the'ir angles (977-
and sides, and in the course of its flow it
carries down smaller stones with the angles
more worn; that is to say the large stones
become smaller. And farther on it deposits
coarse gravel and then smaller, and as it pro-
ceeds this becomes coarse sand and then finer,
and going on thus the water, turbid with sand
and gravel, joins the sea; and the sand settles
on the sea-shores, being cast up by the salt
waves; and there results the sand of so fine a
nature as to seem almost like water, and it
will not stop on the shores of the sea but re-
turns by reason of its lightness, because it was
originally formed of rotten leaves and other
very light things. Still, being almost >as was
said of the nature of water itself, it after-
wards, when the weather is calm, settles and
becomes solid at the bottom of the sea,
where by its fineness it becomes compact
and by its smoothness resists the waves
which glide over it; and in this shells are
found; and this is white earth, fit for pottery.

origin

ve r"
9? 8 )-

Leic. 31 b\

978.

Tutte 1'uscite dell' acque dal monte nel
mare porta co seco li sassi del monte in
es 2 so mare, e per la inodatione dell' acque
marine contro alii sua monti, esse pietre
era ributta^te inverso il mote, e nell'adare
e nel ritornare indietro delle acque al mare,
le pietre insieme co queMa tornavano, e
nel ritornare li angoli loro insieme si per-
cuoteano, e come parte men Sresistente alle
percosse si cosumavano e facean le pietre
sanza angoli, in figu 6 ra rotonda -, come ne'
liti dell' Elsa si dimostra, e quelle rimaneva
piv grosse, che manco sara remosse ? dal lor

All the torrents of water flowing from
the mountains to the sea carry with them
the stones from the hills to the sea, and by
the influx of the sea- water towards the
mountains; these stones were thrown back
towards the mountains, and as the waters
rose and retired, the stones were tossed
about by it and in rolling, their angles hit
together; then as the parts, which least resisted
the blows, were worn off, the stones ceased to
be angular and became round in form, as may
be seen on the banks of the Elsa. And those
remained larger which were less removed

976. i. viberatio. 2. supterrani [e super accquelli]. 3. so fatti infral. 4. ella. 6. chorsi.

977. i. essce . . inel. 2. ellati . . agoli . . coe. 3. grosa e po . . grosa prociede. 4. lita . . gugne . . lita . . scaricha. 5. per
e . ricitrameto . . lita . . dachq"a". 6. indirieta collo per . . marce. 7. bonacca . . scaricha essi. 9. ecquest . biancha
daffar bochali.

978. i. lusscite dellacq"e" . . secho . . in e. 2. rebutta. 3. mode "e nelladare" e . . indirieto. 4. toravano . . perchoteano.
5. perchose . . effacean. 6. ritonda "come ne liti dellebba si dimosstra" ecquella rimane . . mancho. 7. nasscimeto. 8. locho

2O4

PHYSICAL GEOGRAPHY.

[978.

nascimeto; e cosl quella si facea minore,
che piv si rimouea dal predet 8 to loco, in
modo che nel procedere ella si couerte in
ghiaja minvta, e poi in rena 'e in vltimo
in fango ; dipoi che '1 mare si discosta dalli
predetti monti , la salsedine lascia'ta dal
mare con altro umore della terra a fatta
vna collegatione a essa ghiaja e rena, che
la "ghiaja in sasso e la rena in tufo s'
convertita; E di questo si uede 1'esenplo
"in Adda all'uscire de' monti di Como e
in Tesino, Adige, Oglio dall' alpi de' Tede-
schi, e il si 1 'mile d' Arno dal monte Albano
intorno a Mote Lupo e Capraia, doue li
sassi grandissimi son tutti I4 di ghiaia co-
gelata di diuerse pietre e colori.

from their native spot; and they became
smaller, the farther they were carried from
that place, so that in the process they were
converted into small pebbles and then into
sand and at last into mud. After the sea
had receded from the mountains the brine
left by the sea with other humours of the
earth made a concretion of these pebbles
and this sand, so that the pebbles were con-
verted into rock and the sand into tufa.
And of this we see an example in the Adda
where it issues from the mountains of Como
and in the Ticino, the Adige and the Oglio
coming from the German Alps, and in the
Arno at Monte Albano [13], near Monte Lupo
and Capraia where the rocks, which are very
large, are all of conglomerated pebbles of
various kinds and colours.

. . procedere in ft . . giara. 9. fangho . . disscosste . . lasscia. 10. ta del . . altromore . . aflTatto . . giara errena chella.
ii. giara . . ella . . chonvcrtita. 12. inada . . adice oglio e adriano dell alpi . . tedesci el si . . ij. darno
del. 14. cholori.

978. 13. At the foot of Monte Albano lies Vinci, the birth place of Leonardo. Opposite, on the other
bank of the Arno, is Monte Lupo .

C. A. 157 6; 466 a]

ON MOUNTAINS.

979-

11 Li moti son fatti dalli cor 2 si de' Mountains are made by the currents of The forma-

c m tionofmoun-

numi;"| rivers. . tains

sULi moti son disfatti dalli cor^si de' Mountains are destroyed by the currents ^979 9 8 3>-

fiumi. U of rivers.

Leic. 10 a]

980.

Come le 2 radici settentrionali di qua-
lunche alpe non sono ancora petrificate ;
e questo si vede ma^nifestamente doue i
fiumi, che le tagliano, corrano inverse set-
tentrione, li quali taglia * nell' altezze de'
moti le falde delle pietre viue, e nell'con-
giugniersi colle pianure le predette falde
5 son tutte di terra da fare boccali , come
si dimostra in Val di Lamona al fiume
Lamona nel 6 l'uscire del Mote Appenino
fargli le predette cose nelle sue rive;

Come li fiumi anno tutti segati 7 e di-
uisi li menbri delle grand' alpi 1'uno dal-
Paltro, e questo si manifesta per lo ordine
delle 8 pietre faldate, che dalla sommita del
monte insino al fiume si vedono le corri-
spodenze delle falde essere- 9cosl da 1'un
de' lati del fiume come dall'altro; Come

That the Northern bases of some Alps
are not yet petrified. And this is plainly to
be seen where the rivers, which cut through
them, flow towards the North; where they cut
through the strata in the living stone in the
higher parts of the mountains; and, where
they join the plains, these strata are all of
potter's clay; as is to be seen in the valley
of Lamona where the river Lamona, as it
issues from the Appenines, does these things
on its banks.

That the rivers have all cut and divided
the mountains of the great Alps one from
the other. This is visible in the order of
the stratified rocks, because from the summits
of the banks, down to the river the corre-
spondence of the strata in the rocks is
visible on either side of the river. That the

979. 3. dissfacti . . chor.

980. 2. radice . . petrifichate ecquesto. 3. chelle . . chorrane . . settantrione. 4. alteze . . congugnersi cholle. 5. daflfare boch-
ali . . lumona fare al. 6. lusscire . . farli . . fiumi an. 7. alpe . . ecquesto. 8. somita . . vede . . conrisspodenze. 9. tutti

979. Compare 789.

206

PHYSICAL GEOGRAPHY.

[981983.

le pietre faldate de' monti son tutti i gradi
10 de' fanghi posati Tun sopra 1'altro per
le inodationi de' fiumi; Come le diuerse
grossezze delle faldedel'Me pietre son create
da diuerse inondationi de' fiumi, cioe mag-
giore ondatione o minore.

stratified stones of the mountains are all
layers of clay, deposited one above the other
by the various floods of the rivers. That the
different size of the strata is caused by the
difference in the floods that is to say greater
or lesser floods.

981.

Le sommita de' monti per 2 lungo tenpo
senpre s'i'nalzano;

*I lati oppositi de' mdsti
senpre s'auicinano; 6 le profon-
dita delle ualli, Me quali son
sopra la *spera dell'acqua, per
lungo 9 tenpo senpre 10 s'ap-
propinquano al ce M tro del
mondo ;

12 In equal tepo molto pi'^v
si profondano le ua! 14 li che non
s'alzano i mo'sti;

16 Le base de' monti senpre
7 si fanno piv strette;

l8 Quanto I9 la ualle piv si pro 20 fonda,
piv si consu 2I ma ne' sua lati in 22 piu bri-
eue tenpo.

The summits of mountains for a long
time rise constantly.

The opposite sides of the
mountains always approach each
other below; the depths of the
valleys which are above the sphere
of the waters are in the course of
time constantly getting nearer to
the centre of the world.

In an equal period, the valleys
sink much more than the moun-
tains rise.

The bases of the mountains
always come closer together.
In proportion as the valleys become
deeper, the more quickly are their sides
worn away.

Br. M. 30*]

982.

In ogni concauita delle
cime de' monti senpre si tro-
ver 2 anno li piegameti delle
falde delle pietre.

In every concavity at the
summit of the mountains we
shall always find the divisions
of the strata in the rocks.

C. A. 124 1; 3830]

983.

DEL MARE CHE CIGNE LA TERRA.

OF THE SEA WHICH ENCIRCLES THE EARTH.

2 Jo truovo il sito della terra essere ab I find that of old, the state of the earth

antico nelle sue pianure tutto 3 occupato was that its plains were all covered up and
e coperto dall'acque salse ecc. hidden by salt water.

e gradi. 10. gosseze. it. coe magore . . ominore.

981. i. somita. 7. la 5. 8. acq"a". 9. senpre [sabb]. 17. strecte. 20. consu. 21. made sua.
983. 2. ra li.
983. i. ce cignie. 2. abbanticho . . tucto. 3. ochupato e choperto.

983. This passage has already been published f-^ipng 1873, P- 86. However, his reading of the
by Dr. M. JORDAN: Das Malerbuch da L. da Vinci, text differs from mine.

9.84-]

ON MOUNTAINS.

2O7

Leic. 31 a]

984.

Perche molto so 2 piv antiche le 3 cose
che le Iette 4 re, non e maravisglia, se alii
nostri 6 giorni non appari?sce scrittura de-
8 lli predetti ma 9 ri essere occupa I0 tori di
tanti pa jl esi; I2 e se pure alcuna ^scrittura
apparia, I4 le guerre, 1'incedi, li diluvi del-
1'acque j sle mutationi delle l6 lingue e delle
leggi I7 anno cosumato l8 ogni antichita, ma
Z 9a noi bastano le testi 20 monianze delle co-
2I se nate nelle acque "salse ritrouarsi
2 3nelli aid moti, 2 +lontani dalli mari 2 sd'allora.

Since things are much more ancient than xheauthori-
letters, it is no marvel if, in our day, no study Jf th e e
records exist of these seas having covered so ^g'elrth 01
many countries; and if, moreover, some
records had existed, war and conflagrations,
the deluge of waters, the changes of languages
and of laws have consumed every thing an-
cient. But sufficient for us is the testimony
of things created in the salt waters, and
found again in high mountains far from
the seas.

984. 3. chelle. 6. gorni non aparis. 7. sciptura del. 9. ocupa. n. [esi essettu]. 12. esse. 15. "li diluui dellacque" le muta-
tioni. 16. legi. 19. basta. 20. monatie. 26. talor.

VI.

GEOLOGICAL PROBLEMS.

Leic. 3 a]

985.

In questa tua opera tu ai jn prima a
provare, come li nichi in mille braccia
d'altura no ui furo 2 portati dal diluuio,
perche si uedono a u medesimo liuello, e
si vedono auazare assai moti sopra 3 e sso
liuello, e a dimadare se '1 diluvio fu per
piogga o per ringorgameto di mare, e poi
ai 4 a mostrare, che ne per pioggia che in-
grossi i fiumi, ne per rigonfiameto d'esso
mare ; li nichi, come cosa 5 grave, non sono
sospinti dal mare alii moti, ne tirati a
se dalli fiumi cotro al corso delle 6 loro
acque.

In this work you have first to prove that
the shells at a thousand braccia of elevation
were not carried there by the deluge, because
they are seen to be all at one level, and
many mountains are seen to be above that
level; and to inquire whether the deluge
was caused by rain or by the swelling of
the sea; and then you must show how,
neither by rain nor by swelling of the rivers,
nor by the overflow of this sea, could the
shells being heavy objects be floated up
the mountains by the sea, nor have carried there
by the rivers against the course of their waters.

C. A. 1520; 452 a]

9 86.

DUBITATIONE.

A DOUBTFUL POINT.

2 Mouesi qui vn dubbio e questo e, se Here a doubt arises, and that is: whether

Doubt* '1 3 diluvio, venuto al tenpo di Noe, fu vni- the deluge, which happened at the time of

a dehiVe he 4 versale o no; E qui parra di no, per le Noah, was universal or not. And it would

985. i. quessta . . br daltura. 2. perchessi uedano . . e uedesi. 4. mosstrare . . piogga chengrossi . . chome. 5. sosspinti . .
asse . . chorso. 6. accq"e".

986. 2. ecquesso. 4. onno. 5. chessi . . abbian nella bibbia. 6. chonpossto. 7. node . . pio. 8. chettal piogg. g. ghomiti.

985. The passages, here given from the MS. that is not repeated here more clearly and fully.

Leic., have hitherto remained unknown. Some pre-
liminary notes on the subject are to be found in
MS. F So 3 and 8o b ; but as compared with the
fuller treatment here given, they are, it seems to
me, of secondary interest. They contain nothing

I.IHRI, Histoire des Sciences mathematiques Iff, pages
218 221, has printed the text of F 80* and 8o b ,
therefore it seemed desirable to give my reasons
for not inserting it in this work.

98;-]

GEOLOGICAL PROBLEMS.

209

s ragioni che si assegnieranno ; Noi abbiamo
nella bibbia, 6 che il predetto diluvio fu
conposto di 40 7 dl e 40 notti di continua
e vniversa piog 8 gia, e che tal pioggia alzo
died 9gomiti sopra al piu alto mote del-
l'univer I0 so; E se cosl fu, che la pioggia
fusse vniver^sale, ella vestl di se la nostra
ter I2 ra di figura sperica; E la supern I3 tie
sperica in ogni sua parte equalmen^te di-
stante dal cietro della sva spe is ra, onde la
spera del'acqua, trovandosi l6 nel modo
della detta conditione, elli e ^inpossibile,
che 1'acqua sopra di lei si mova, l8 perch e
1'acqua in se non si move, s'ella non J 'di-
sciede; addunque 1'acqua di tanto dilu 20 vio
come si parti, se qui e provato, non a 2I ver
moto? e s'ella si parti, come si mosse, 22 se
ella non adava allo insu? e qui ne macano 2 ^
le ragio naturali, ode bisognia per soccor-
2< *so di tal dvbitatione chiamare il mira-
2 5colo per aiuto, o dire che 26 tale acqua
fu vaporata dal calore del sole.

seem not, for the reasons now to be given:
We have it in the Bible that this deluge
lasted 40 days and 40 nights of incessant
and universal rain, and that this rain rose to
ten cubits above the highest mountains in the
world. And if it had been that the rain
was universal, it would have covered our
globe which is spherical in form. And
this spherical surface is equally distant in
every part, from the centre of its sphere;
hence the sphere of the waters being
under the same conditions, it is im-
possible that the water upon it should move,
because water, in itself, does not move
unless it falls; therefore how could the
waters of such a deluge depart, if it is
proved that it has no motion? and if it de-
parted how could it move unless it went
upwards? Here, then, natural reasons are
wanting; hence to remove this doubt it is
necessary to call in a miracle to aid us, or
else to say that all this water was evapo-
rated by the heat of the sun.

Leic. 86}

987.

DEL DILUUIO E DE'NICHI MARINI.

2 Se tu dirai che li nichi, che per li cori-
fini d' Italia lontano dalli mari in tata altezza
si ueggono 3 alii nostri tempi, siano stati
per causa del diluuio che 11 li lascio, io ti
rispodo che, credendo tu che Hal diluvio
superasse il piv alto monte 7 cubiti, come
scrisse chi li misuro, tali nichi che senpre
s stanno vicini ai liti del mare, e' doueano
restare sopra tali motagnie, e no si poco
sopra le radi 6 ci de' monti per tutto a vna
medesima altezza a suoli a suoli; E se tu
dirai che, essendo tali 7 nichi vaghi di stare
vicini alii liti marini e che, crescedo in tata
altezza, che li nichi si 8 partirono da esso
lor primo sito e seguitarono 1' accrescimeto
delle acque insino alia lor 9soma altezza,
Qui si risponde che, sendo il nichio anima-

OF THE DELUGE AND OF MARINE SHELLS.

If you were to say that the shells which That marine
are to be seen within the confines of Italy shells could

, re .1 ' not go up

now, in our days, tar from the sea and at the moun-
such heights, had been brought there by the tains<
deluge which left them there, I should
answer that if you believe that this deluge
rose 7 cubits above the highest mountains
as he who measured it has written these
shells, which always live near the sea-shore,
should have been left on the mountains; and
not such a little way from the foot of the
mountains; nor all at one level, nor in layers
upon layers. And if you were to say that
these shells are desirous of remaining
near to the margin of the sea, and that,
as it rose in height, the shells quitted
their first home, and followed the in-
crease of the waters up to their highest
level; to this I answer, that the cockle is an
animal of not more rapid movement than
the snail is out of water, or even somewhat

io. chosi . . chella piggia fussi. 12. fighura spericha Ella. 13. spericha nogni. 14. disstante al. 16. chonditione. 17. chel-
lacqua . . mov "a". 20. chome. 21. essella . . chome, 22. ecquimaca. 23. sochor. 25. cholo [per sochorso] per . . oddire.
26. chalar.

987. I. 8 del. 2. settu . . chelli . . luntano dali . . alteza si uegghano. 3. nosstri tenpi sia stato . . chausa . . lasscio . . rispode.
4. diluio superassi . . chessenpre. 5. aliti del mare doueano . . pocho . . li radi. 6. ce de . . assuoli assuoli Essettu.
7. cresscedo . . alteza chelli. 8. partirano . . lor p"o" sito essejuitorno lacresscimeto. 9. alteza . . che^sendo. io. chessi
VOL. 11. DL>

2IO

PHYSICAL GEOGRAPHY.

[987.

le di non piii veloce moto, che si sia la
lumaca, fori dell'acqua, e qualche cosa piu
tarda perche no nota, a"zi si fa vn solco
per F arena mediante i lati di tal solco ove
s'appoggia, caminerk il dl dalle 3 alle 4.
braccia; I2 adunque questo co tale moto
no sari caminato dal mare Adriano insino
in Moferrato di Lon'^bardia, che v'e 250
n>iglia di distantia, in 40 giorni, come disse
chi tenne coto d'esso tenpo; e se tu dici
che I4 l'onde ve li portarono, essi per la
lor gravezza non si reggono, se no sopra
il suo fondo-; e se questo no mi 'Sconcedi, co-
fessami al meno ch'elli aueano a' rimanere
nelle cime de' piv alti moti e ne' laghi che
in'fra li moti si serrano, come lago di
Lario o di Como, e '1 Maggiore, e di
Fiesole, e di Perugia e simili;

'/E se tu dirai che li nichi son l8 por-
tati dair onde, essedo voti e morti, io dico
che, dove andauano li morti, poco si rimo-
veuano da'uiui, e in que'^ste m'ontagnie
sono trovati tutti i uiui che si cognoscono
che sono colli gusci appaiati, e scno 20 in
vn filo doue non e nessun de' morti, e
poco piv alto e trovato doue eran gittati
dall'o^de tutti li morti colle loro scorze
separate, apresso a dove li fiumi cascavano
in "mare in gra profondita; come Arno,
che cadea dalla Gonfolina apresso a 2 -' Mote
Lupo e quiui lasciaua la ghiaja, la quale
ancor si uede, che si e insieme ricogielata
e di pie 24 tre di uari paesi nature e colori
e durezze se n'e fatto vna sola congelatione,
e poco piu oltre la congelatione dell'are 2 5na
s' fatta tufo, dou'ella s'agiraua inverse
Castel Fioretino, piu oltre si scaricava il
fango, 26 nel quale abitavano i nichi, il quale
s'inalzava a gradi, secondo che le piene
d'Arno torbido 2 ?in quel mare versauano,
e di tempo in tenpo s'inalzaua il fondo al
mare, jl quale a gradi 28 producea essi
nichi, come si mostra nel taglio di Colle
Gonzoli, dirupato dal flume d'Arno, 2 9che
il suo piede consuma, nel qual taglio si

slower; because it does not swim, on the
contrary it makes a furrow in the sand by
means of its sides, and in this furrow it will
travel each day from 3 to 4 braccia; therefore
this creature, with so slow a motion, could
not have travelled from the Adriatic sea as
far as Monferrato in Lombardy [13], which
is 250 miles distance, in 40 days; which
he has said who took account of the time.
And if you say that the waves carried them
there, by their gravity they could not move,
excepting at the bottom. And if you will
not grant me this, confess at least that they
would have to stay at the summits of the
highest mountains, in the lakes which are
enclosed among the mountains, like the lakes
of Lario, or of Como and il Maggiore [i 6]
and of Fiesole, and of Perugia, and others.
And if you should say that the shells
were carried by the waves, being empty and
dead, I say that where the dead' went they
were not far removed from the living; for in
these mountains living ones are found, which
are recognisable by the shells being in pairs ;
and they are in a layer where there are no
dead ones; and a little higher up they are
found, where they were thrown by the waves,
all the dead ones with their shells separated,
near to where the rivers fell into the sea,
to a great depth; like the Arno which fell
from the Gonfolina near to Monte Lupo [23],
where it left a deposit of gravel which may
still be seen, and which has agglomerated;
and of stones of various districts, natures,
and colours and hardness, making one single
conglomerate. And a little beyond the sand-
stone conglomerate a tufa has been formed,
where it turned towards Castel Florentine;
farther on, the mud was deposited in which the
shells lived, and which rose in layers according
to the levels at which the turbid Arno flowed
into that sea. And from time to time the
bottom of the sea was raised, depositing
these shells in layers, as may be seen in
the cutting at Colle Gonzoli, laid open by

. . lumacha . . ecqualche . . tarda. n. solcho . . sapogia chaminera . . 4 br. 12. chaminato . . i moferato. ij. gorni . .
tcnc . . essettu di che. 14. portorono . . regano. 15. cedi. 16. fralli . . magore . . pertiga. 17. Ksse tu dirai dirai chcllc.
18. dicho . . andaua . . pocho. 19. cognoscano . . cholli gussci . . essono. 20. in vnn . . pocho. 21. cholle . . chassca-
Yano. 22. gra . . chadea delta Golfolina. 23. giara . . chesse insieme . ricogielata. 24. nari "paesi" nature "e colorie du-
reze" se ne fatto . . gongelatione . . pocho. 25. seffatto . . invero chastel . . scharichava il fangho. 26. abitava . . chelle

987. 13. Monferrato di Lombardia. The range of the words in the MS. are: "Come Lago di Lario o'l

hills of Monferrato is in Piedmont, and Casale di
Monferrato belonged, in Leonardo's time, to the
Marchese di Mantova.

1 6. Lago di Lario. Lacus Larius was the name
given, by the Romans to the lake of Como. It is
evident that it is here a slip of the pen since the

Magore e di Como." In the MS. after line 16 we
come upon a digression treating of the weight of
water; this has here been omitted. It is II lines
long.

23. Monte Lupo, compare 970, 13; it is between
Empoli and Florence.

9 88.]

GEOLOGICAL PROBLEMS.

211

uedono manifestamete li predetti gradi de'
nichi in 3fango azzureggiante, e ui si trova
di uarie cose marine; E si e alzata la terra
del nostro ^emisperio per tanto piu che
no solea, per quato ella si fece piu lieue
delle acque, che le manca 32 rono per il
taglio di Calpe e d'Abila, e altrettanto piv
s'e alzata, perche il peso dell' acque, che
di qui ma.33carono, s' aggiunsero alia terra
volta all'altro emisperio, E se li nichi fus-
sero stati 34 portati dal Torbido diluuio,
essi si sarebbero misti, separatamente Pun
dal'altro, infra '1 fango e non 3 5con ordinati
gradi a suoli, come alii nostri tenpi si vede.

the Arno which is wearing away the base of it;
in which cutting the said layers of shells are
very plainly to be seen in clay of a bluish
colour, and various marine objects are found
there. And if the earth of our hemisphere
is indeed raised by so much higher than it
used to be, it must .have become by so much
lighter by the waters which it lost through
the rift between Gibraltar and Ceuta; and all
the more the higher it rose, because the weight
of the waters which were thus lost would be
added to the earth in the other hemisphere.
And if the shells had been carried by the
muddy deluge they would have been mixed
up, and separated from each other amidst the
mud, and not in regular steps and layers
as we see them now in our time.

Leic. ga]

988.

Di quelli che dicono che i nichi sono
per molto spatio e nati remoti dalli mari
per la natura del sito e de' cieli, 2 che di-
spone e influiscie tal loco a simile creatione
d'animali-;a costor si rispondera che, se
tale influetia 3d'animali no potrebbe acca-
dere in vna sola linia, se no animali di
medesima sorte e eta, e non il uechio col
gio 4 vane, e no alcun col coperchio e 1'al-
tro essere sanza sua .copritura, e no Funo
esser rotto e Paltro intero, Se no 1'uno
ripieno di rena marina e rottame minvto e
grosso d'altri nichi dentro alii nichi 6 interi,
che li son rimasti aperti, e no le boche de'
granchi sanza il rimanete del suo tutto, e
non li ni?chi d'altre spetie appiccati con loro
in forma d'animale che sopra di quelli si
mouesse, perche ancora resta 8 il uestigio
del suo andamento sopra la scorza che lui
gia, a uso di tarlo sopra il legname, ando
cosumado; 9 no si troverebbero infra loro
ossa e denti di pescie, li quali alcuni di-
mandano saette e altri lingue di ser I0 penti,

As to those who say that shells existed The marine
for a long time and were born at a distance ^St produ-
from the sea. from the nature of the place , ced ? vva y

,-. - . ' _ from the sea.

and ot the cycles, which can influence a
place to produce such creatures to them it
may be answered: such an influence could
not place the animals all on one line, except
those of the same sort and age; and not the
old with the young, nor some with an operculum
and others without their operculum, nor some
broken and others whole, nor some filled
with sea-sand and large and small fragments
of other shells inside the whole shells
which remained open; nor the claws of
crabs without the rest of their bodies;
nor the shells of other species stuck on to
them like animals which have moved about
on them; since the traces of their track still
remain, on the outside, after the manner of
worms in the wood which they ate into. Nor
would there be found among them the bones
and teeth of fish which some call arrows and
others serpents' tongues, nor would so many

plane. 2.7. quell . . versaua. 28. deripato. 29. piede . . taglo si vede. 30. fangho azuregantc . . Essi alzato . . noss-
tro. 31. emissperio . . mancho. 32. perl . . calpe dattile . . perche[la] il. 33. chorono sagunsono . . emissperio
Esselli . . futtino. 34. portadi . . essi saren misti . . fangho enno. 35. assuoli.

98]. i. dicano che michi. 2. infruisscie . . locho assimile . . risodera chesse . . infruetia. 3. po achadere . . enone il . . col
go. 4. ellaltro esere colla sua . . ellaltro. 6. chelli . . rimassti . . rimane dal . . e none. 7. colloro apichati . . mouessi. 8. las-
scorza chellui ga. 9. troverrainfrallaro . . pesscie. 10. troverra. n. auebe . . stano . . elle cose. 12. sariano . . alteza . . ga a

988. I. Scilla argued against this hypothesis, which was still accepted in his days; see: La
vana Speculazione, Napoli 1670.

212

PHYSICAL GEOGRAPHY.

[ 9 88.

e no si troverebbero tanti mebri di diuersi
animali insieme vniti se 11 da liti marini
gittati no fussino, "e '1 diluuio U no gli
avrebbe portati, perche le cose gravi piii
del'acqua no stanno a galla sopra 1'acqua,
e le cose pre"dette no sariano in tanta al-
tezza, se gia a nuoto ivi sopra dell' acque
portate non furono, la qual cosa e inpossi-
"bile per la lor gravezza; Dove le uallate
non ricievono le acque salse del mare,
quiui i nichi mai non si '*vedono, come
manifesto si uede nella gran valle d'Arno
di sopra alia Gonfolina, sasso per antico
vnito 'Scon Monte Albano in forma d'al-
tissimo argine, il quale tenea ringorgato
tal fiu me in modo che prima che versasse
nel mare, l6 il quale era dopo ai piedi di
tal sasso, conponea 2 grandi laghi, de' quali
il primo e, dove oggi si uede fiorire la citta
di Fiore^ze insieme con Prato e Pistoia, e
Monte Albano seguiva il resto dell' argine
insin doue oggi e posto Serravalle-; dal
Va; d'Arno l8 di sopra insino Arezzo si
creava vno secondo lago, il quale nell'ati-
detto lago versaua le sue acque, ^chiuso
circa dove oggi si uede Girone, e occupaua
tutta la detti valle di sopra per ispatio di
40 miglia 20 di lughezza; questa valle riceue
sopra il suo fondo tutta la terra portata
dall'acqua da quella intorbidata, la quale
2I anccra si uede a' piedi di Prato Magno
restare altissima, doue li fiumi no 1'anno
consumata, e infra essa terra si uedono le
pro 22 fonde segature de' fiumi che quiui son
passati, li quali discedono dal gra mote di
Prato Magno, nelle quali 2 ' segature no si
uede vestigio alcuno di nichi e di terra
marina; questo lago si congiugnea col lago
di Perugia;

2 +Gran somma di nichi si uede doue li
fiumi versano in mare, perche in tali siti
T acque non so 2 Sno tante salse per la mi-
stion dell'acque dolci che con quelle s'uni-
scono -, e '1 segnio di cio si vede doue per
antico li Mo z6 nti Appenini versauano li lor
fiumi nel mare Adriano, li quali in gran
parte mostrano infra li moti gra 2 ? somma
di nichi insieme coll azzurigno terrenodi mare,

portions of various animals be found all
together if they had not been thrown on the
sea shore. And the deluge cannot have
carried them there, because things that are
heavier than water do not float on the water.
But these things could not be at so great a
height if they had not been carried there by
the water, such a thing being impossible from
their weight. In places where the valleys have
not been filled with salt sea water shells are
never to be seen; as is plainly visible in the
great valley of the Arno above Gonfolina;
a rock formerly united to Monte Albano, in
the form of a very high bank which kept
the river pent up, in such a way that before
it could flow into the sea, which was after-
wards at its foot, it formed two great lakes ;
of which the first was where we now see the
city of Florence together with Prato and
Pistoia, and Monte Albano. It followed the
rest of its bank as far as where Serravalle
now stands. From the Val d'Arno upwards,
as far as Arezzo, another lake was formed,
which discharged its waters into the former
lake. It was closed at about the spot where
now we see Girone, and occupied the whole
of that valley above for a distance of 40
miles in length. This valley received on its
bottom all the soil brought down by the
turbid waters. And this is still to be seen
at the foot of Prato Magno; it there lies
very high where the rivers have not worn
it away. Across this land are to be
seen the deep cuts of the rivers that have
passed there, falling from the great moun-
tain of Prato Magno; in these cuts there
are no vestiges of any shells or of ma-
rine soil. This lake was joined with that of
Perugia [2 3].

A great quantity of shells are to be seen
where the rivers flow into the sea, because
on such shores the waters are not so salt owing
to the admixture of the fresh water, which
is poured into it. Evidence of this is to be
seen where, of old, the Appenines poured their
rivers into the Adriatic sea; for there in
most places great quantities of shells are to
be found, among the mountains, together

note . . inposi. 13. graveza. 14. vidone . . vale. 15. "con monte albano" in forma . . daltissima argine (il quale) tenea
. . versassi nel ma. 16. apiedi . . il p"o"e dove ogi si uide "fruire" la. 17. ze "insieme con" prato . . il re"ito" . . ogi
. . ualdarno. 18. arezo . . lagho . . atidetto. 19. chircha . . ochupaua. 20. di lugeza . 20 tera porta dallacquedi. 21. acora
. . al "tissima" . . no Ian. 22. si uede . . disscedano. 23. alchuno . . terra (azurigma come] "marina" questo . . congugnea
collacho di peruga. 24. soma. 25. suniscano . . dicosi . . anticho. 26. nti appenini . . moti. 27. chollazurigno tere . .

23. See PI. CXIII.

GEOLOGICAL PROBLEMS.

213

e tutti li sassi, che di tal loco si cauano,
son pieni di nichi; 28 I1 medesimo si cono-
scie auere fatto Arno, quando cadea dal
sasso della Gonfolina nel mare, 2 9che dopo
quella non troppo basso si trovaua, perche
a quelli tempi superaua 1'altezza di San
Miniato al Tedesco, 3 perche nelle somme
altezze di quello si uedono le ripe piene
di nichi e ostriche dentro alle sue mvra;
non si distesero li nr'chi inverse Val di
Nievole, perche 1'ncque dolci d'Arno in la
non si astendeano;

Come li nichi no si ^partirono dal
mare per diluuio, perche 1'acque, che di
uerso la terra veniuano, acora che esse
tirassino il mare 33Jnverso la terra,' esse
era quelle che percuoteano il suo fondo,
perche 1'acqua, che viene diuerso la terra,
a J 4 piu corso che quella del mare, e per
coseguenza e piv potente, entra sotto 1'al-
tra acqua del mare 35 e rimove il fondo e
accompagnia con seco tutte le cose mobili
che in quella trova, come son i predetti
3 6 nichi e altre simili cose, e quanto 1' acqua,
che vie di terra, e piv torbida che quella
del mare, ta^/to piv si fa potente e grave
che quella; adunque io no ci vedo modo
di tirare i predetti nichi tanto in3 8 fra terra,
se quiui nati no fussino; se tu mi dicessi,
il flume Loira, che passa per la Francia,
39rielPaccrescimeto del mare si copre piv
di ottanta miglia di paese, perche e loco
di gra pia 4 nvra, e '1 mare s'alza circa
braccia 20, e nichi si uengono a trovare
in tal pianvra, disco^sta dal mare essa
80 miglia, qui si rispode che '1 flusso e
reflusso ne' nostri mediterrani ^rnari no
fanno tanta varieta, perche in Genovese
no uaria nvlla, a Vinegia poco, in A^frica
poco, e dove poco varia, poco occupa di
paese ;

Senpre la correte dell' acqua de' fiumi
44s'inoda sopra del loco doue li e inpedito
il corso ; ancora doue essa si ristrignie per
passare sotto 45 li archi de' ponti.

with bluish marine clay; and all the rocks
which are torn off in such places are full of
shells. The same may be observed to have
been done by the Arno when it fell from the
rock of Gonfolina into the sea, which was
not so very far below; for at that time it
was higher than the top of San Miniato al
Tedesco, since at the highest summit of this
the shores may be seen full of shells and
oysters within its flanks. The shells did not
extend towards Val di Nievole, because the fresh
waters of the Arno did not extend so far.

That the shells were not carried away
from the sea by the deluge, because the
waters which came from the earth although
they drew the sea towards the earth, were
those which struck its depths; because the
water which goes down from the earth, has
a stronger current than that of the sea, and
in consequence is more powerful, and it
enters beneath the sea water and stirs the
depths and carries with it all sorts of movable
objects which are to be found in the earth,
such as the above-mentioned shells and other
similar things. And in proportion as the
water which comes from the land is muddier
than sea water it is stronger and heavier than
this ; therefore I see no way of getting the
said shells so far in land, unless they had
been born there. If you were to tell me that
the river Loire [3 8], which traverses France,
covers when the sea rises more than eighty
miles of country, because it is a district of
vast plains, and the sea rises about 20 braccia,
and shells are found in this plain at the di-
stance of 80 miles from the sea; here I answer
that the flow and ebb in our Mediterranean
Sea does not vary so much; for at Genoa it
does not rise at all, and at Venice but little,
and very little in Africa; and where it varies
little it covers but little of the country.

The course of the water of a river always
rises higher in a place where the current is
impeded; it behaves as it does where it is
reduced in width to pass under the arches
of a bridge.

ettutti. 28. conosscie . . fatto [il ual dnrno] arno . . chadea del . . golfolina. 29. tropo . . acquelli tenpi . . lalteza di
saminiato. 30. some alteze . . uede . . osstrighe . . distesono. 31. nievole per lacque . . asstendeano. 32. partiro del . .
lache che diuerso terra veniuano al mare ancora e esse. 33. inverso terra . . peroteano . . vie diuerso tera | a. 34. che-
cquella . . acq"a" . . 35. aconpagnia consecho . . mobile . . son e prede. 36. ecquanto . . checquella. 37. adunque i
no ci vego . . e predetti. 38. fiatterra . . settu . . era . . franca. 39. acresscimeto . . ellocho. 40. circha br 20 e . .
uengano attrorare . . discos. 41. sto dal . . esse . . risspode . . frusso e refrusso . . medi terani. 42. nola . . pocho.
43. pocho . . pocho . . pocho schupa . . correte. 44. locho douele . . corso . | anchora.

38. Leonardo has written Era instead of Loera or Loira perhaps under the mistaken idea that Lo was
an article.

214

PHYSICAL GEOGRAPHY.

[989:

Uic. 9 'I

CONFUTATIONS CH'E CONTRO COLOR CHE DI-

,989.

A CONFUTATION OF THOSE WHO SAY THAT

CONO, I NICHI ESSER PORTATI PER MOLTE GIOR- SHELLS MAY HAVE BEEN CARRIED TO A DISTANCE

NATE DISTANTI DALLI MARI PER CAUSA DEL

DILUUIO 'TANT'ALTO CHE SUPERASSE TALE

ALTEZ/A.

3Dico che il diluuio non pote portare
le cose nate dal mare alii moti, se gia il
mare gonfiando no creasse inodazione *in-
sino alii lochi sopradetti, la qual gonfia-
tione accadere no pu6, perche si darebbe
vacuo, e se tu diciessi 1'aria quiui sriem-
pierebbe , noi abbiamo concluso il grave
non si sostenere sopra il lieue, onde per
neciessita si c6 6 clude, esso diluuio essere
cavsato dall'acque piovane, e se cosl e,
tutte esse acque corrono al mare, 7 e no
corre il mare alle montagnie, e se elle cor-
rono al mare, esse spingono li nichi dal
lito del mare, e no le 8 tirano a se; E se
tu dicessi, poiche '1 mare alzo per 1'acque
piovane, port6 essi nichi a tale altezza,
9 gia abbiamo detto che le cose piv gravi
delFacqua no nota sopra di lei, ma stano
nei fondi, dalle quali no si I0 rimovono , se
no per cavsa di percussio d' onda ; E se tu
dirai che 1'onde le portassino in tali lochi
alti, noi abbiamo "prouato che 1'onde nelle
gra profondita tornano in contrario nel
fondo al moto di sopra, la qual cosa I2 si
manifesta per lo intorbidare del mare dal
terreno tolto vicino alii liti; Muovesi la
cosa piv lieue che 1'^acqua insieme colla
sua onda, ed e lasciata nel piv alto sito
della riva dalla piv alta onda; Muouesi la
cosa ^piu grave che 1'acqua , sospinta
dalla sua oda nella superfitie e dal fondo
suo e per queste due conclusion!, che ai
lochi 'Ssua-sara provate a pieno, noi con-
cludiamo che 1'onda superfitiale no puo
portare nichi, per essere piu grievi che
16 1'acqua;

'7Quando il diluuio auesse avto a por-
tare li nichi trecento e quattro cento mi-
l8 glia distanti dalli mari, esso li avrebbe
portati misti con diuerse nature insieme
ammontati, e noi vediamo in J 9tal distantie
1'ostriche tutte insteme, e le conchilie, e li
pesci calamai, e tutti li altri nichi, che
stanno insieme a congre 20 gatione, essere

OF MANY DAYS' JOURNEY FROM THE SEA BY THE

DELUGE, WHICH WAS SO HIGH AS TO BE ABOVE

THOSE HEIGHTS.

I say that the deluge could not carry objects,
native to the sea, up to the mountains, unless
the sea had already increased so as to create
inundations as high up as those places; and
this increase could not have occurred because
it would cause a vacuum; and if you were
to say that the air would rush in there, we
have already concluded that what is heavy
cannot remain above what is light, whence of
necessity we must conclude that this deluge
was caused by rain water, so that all these
waters ran to the sea, and the sea did not run
up the mountains; and as they ran to the sea,
they thrust the shells from the shore of the sea
and did not draw them to wards themselves. And
if you were then to say that the sea, raised
by the rain water, had carried these shells
to such a height, we have already said that
things heavier than water cannot rise upon
it, but remain at the bottom of it, and do
not move unless by the impact of the waves.
And if you were to say that the waves had
carried them to such high spots, we have
proved that the waves in a great depth move
in a contrary direction at the bottom to the
motion at the top, and this is shown by the
turbidity of the sea from the earth washed
down near its shores. Anything which is
lighter than the water moves with the waves,
and is left on the highest level of the highest
margin of the waves. Anything which is
heavier than the water moves, suspended in
it, between the surface and the bottom; and
from these two conclusions, which will be
amply proved in their place, we infer that the
waves of the surface cannot convey shells,
since they are heavier than water.

If the deluge had to carry shells three
hundred and four hundred miles from the
sea, it would have carried them mixed with
various other natural objects heaped together;
and we see at such distances oysters all
together, and sea-snails, and cuttlefish, and
all the other shells which congregate together,

989. i. dicano . . gornate . . chausa. 2. tantalta . . superassi. j. Dicho che diluuio no po | "te" . . cose "nate" del . . creassi
. . achadere . . po . . dare vachuo. 5. rienpierebe . . abia . . greve. 6. esse chosi . . corrano. 7. csselle corrano . . del
lito. 8. asse Esse . . attale alteza. 9. abia . . chelle . . grav . . stano in fondo delle 10. removano . . . Essettu . . abia.
ii. chellonde . . provondita. 12. del tere . . chella. 13. acq"a" . . lassciata. 14. chellacqua . sospinte . . e del. 15. che-
llond.i . . po. 17. auesse. 18. disstanti . . arebbe . . chou . . amotati. 19. losstriche . . elli conchili elli . . chalamai

990.]

GEOLOGICAL PROBLEMS.

215

trovati tutti insieme morti, e li nichi sole-
tari trovarsi distant! 1'uno dall'altro, come
ne' liti marittimi 2I tutto il giorno vediamo;
E se noi troviamo 1'ostriche insieme appa-
retate gradissime, infra le quali assai vedi
quelle 22 che anno ancora il coperchio con-
giunlo, a significare chequi furono lasciate
dal mare, che ancor viveano quando fu
2 3tagliato lo stretto di Gibilterra; Vedesi
in nelle montagnie di Parma e Piacetia le
moltitudini di nichi e coralli 24 intarlati, an-
cora appiccati alii sassi, de' quali, quand' io
facevo il gra cavallo di Milano, me ne fu
portato vn gra sacco ne 2 5lla mia fabbrica
da certi villani, che in tal loco furo trovati,
fralli quali ve n'era assai delli conseruati
nella prima bota;

26 Truovasi sotto terra e sotto li pro-
fondi cavamenti de' lastroni li legniami
delle traui lauorati, fatti gia neri, li qua 27 ll
furo trovati a mio tenpo in quel di Castel
Fioretino , e questi in tal loco profondo
v'erano prima che la litta gittata 28 dall'Arno
nel mare, che quiui copriva, fusse abban-
donata in tant' altezza, e che le pianvre del
Casentino fussi tanto abbassate 2 9dal terre
che anno al continue di 11 sgonberato;

3E se tu dicessi, tali 3 1 nichi essere
crea3 2 ti e creano a c63 tinvo in simili lochi
per la natura del 34 S ito e de' cieli, che
qui3 6 vi influisce, questa 37 tale openione non
3 8 sta in cervelli di trop39po discorso, perche
qui 4 vi s'envmera li anni 4I del loro accre-
scimento 42 sulle loro scorze, e se ne 43 V e-
dono piccoli e gradi, 44 i quali sanza cibo no
cre^ 5 scerebbero e non si cibarebbero sa 46 za
moto, e quivi mouere no si po 4 ?teano.

all to be found together and dead; and the
solitary shells are found wide apart from each
other, as we may see them on sea-shores every
day. And if we find oysters of very large shells
joined together and among them very many
which still have the covering attached, indi-
cating that they were left hereby the sea, and
still living when the strait of Gibraltar
was cut through; there are to be seen, in
the mountains of Parma and Piacenza, a
multitude of 'shells and corals, full of holes,
and still sticking to the rocks there. When
I was making the great horse for Milan , a
large sack full was brought to me in my
workshop by certain peasants; these were
found in that place and among them were
many preserved in their first freshness.

Under ground, and under the foundations
of buildings, timbers are found of wrought
beams and already black. Such were found in
my time in those diggings at Castel Fiorentino.
And these had been in that deep place before
the sand carried by the Arno into the sea,
then covering the plain, had heen raised to
such a height; and before the plains of Casen-
tino had been so much lowered, by the earth
being constantly carried down from them.

[30] And if you were to say that these
shells were created, and were continually
being created in such places by the nature
of the spot, and of the heavens which might
have some influence there, such an opinion
cannot exist in a brain of much reason;
because here are the years of their growth,
numbered on their shells, and there are large
and small ones to be seen which could not
have grown without food, and could not
have fed without motion #nd here they could
not move [47].

Leic. io a] 9QO

Come 2 nelle falde, infra 1'una e 1'altra
si trovano ancora li andameti delli lonbrici,
che caminavano infra esse ^quado non erano
ancora asciutte; Come tutti li fanghi ma-
rini ritengono ancora de' nichi 4 ed e petri-
ficato il nichio insieme col fango; della

That in the drifts, among one and another,
there are still to be found the traces of the
worms which crawled upon them when they
were not yet dry. And all marine clays
still contain shells, and the shells are petri-
fied together with the clay. From their
firmness and unity some persons will have
it that these animals were carried up to

ettutti. 20. elli trovare . . lunoall. 21. gorno . . Esse . . losstriche . . aparetadi gradissimi infralle quale. 22. anchora
. . congunto . . assignificare . . lassciate . . ancoravveano. 23. losstretto di gibiltar . . inelle . . moltitudinede. 24. apichati

. . ne nefu . . sachone. 25. fabricha . . nella p".i" bota. 26. essotto . . ga neri. 27. ecquesti . . profondor "o"no . .
chella litagitta. 28. copria fussi abondata . . alteza e chelle . . tante abassate. 29. del. .sgonbera 30. essettu. 31. niche.

33. nvo. 36. infruisscie. 37. none. 38. di tro. 41. deloro acresscimento. 42. sule. 43. vede picoli. 45. bono e non si

ciboro. 47. trono.
990. 2. infralluna allaltra . . trova anchora. 3. neuera . . asscutta . . fangh . . ritengano. 4. essenplicita . . uogliano chettal.

989. 30 47. These lines arc written in the margin.

2l6

PHYSICAL GEOGRAPHY.

[990.

stoltitia e senplicita di quelli, che uogliono
che taMi animali fussino alii lochi distanti
dai mari portati dal diluvio; Come altra
setta d'ignoranti 6 affermano la natura, o i
cell auerli in tali lochi creati per Iflussi
celesti, come in quelli 7 no si trovassino
1'ossa de' pesci cresciuti co lughezza di
tenpo, come nelle scorze de' nichi e luma-
che no si potcsse 8 annvmerare li anni o i
mesi della lor uita, come nelle corna de'
buoi e de' castroni e nella ramificatione
decile piante, che no furo mai tagliate in
alcuna parte; E auendo con tali segni di-
mostrato e la lunghezza della lor uita I0 es-
sere manifesta, ecco bisognio confessare,
che tali animali no uiuino sanza moto per
cercare "il loro cibo e in loro non si uede
strumeto da penetrare la terra e '1 sasso,
ove si trovano rinchiusi ; I2 Ma in che modo
si potrebbe trovare in vna gra lumaca i
rottami e parte di molt'altre sorti di nichi
di uarie na^ture, se ad essa, sopra de' liti
marini gia morta, non. li fussino state git-
tate dalle onde del mare, come dell'al'nre
cose lieui, che esso gitta a terra? Perche
si truova tanto rottame e nichi interi fra
falda e falda di pie'Stra, se gia quella so-
pra del lito no fusse stata ricoperta da una
terra rigittata dal mare, la qual poi si uenne
pc l6 trificando? E se '1 diluvio predetto li
auesse in tali siti dal mare portato, tu trove-
resti essi nichi in nel termi' 7 ne d'una sola
falda, e non al termine di moke; deuonsi
poi annvmerare le uernate delli a l8 ni, che
'1 mare mvltiplicaua le falde dell' arena e
fango, portatoli da fiumi vicini, e ch'elli
scaricava in sui liti sua, e se '9tu volessi
dire, che piv diluui fussino stati a produrre
tali falde e nichi infra loro, e' bisognierebbe,
20 che ancora tu affermassi ogni ano essere
vn tal diluuio accaduto; Ancora infra li
rot 2I tami di tal nichi si presume in tal sito
essere spiaggia di mare, doue tutti i nichi
son gittati rotti e diuisi e no 22 mai appai-
ati, come infra '1 mare viui si trovano con
due gusci, che fan coperchio 1'uno all'altro;
E infra 2 ^le falde della riuiera e de' liti
marittimi son trovati de' rottami; E dentro
alii termini delle pietre son trovati 2 *rari
e appaiati de' gusci, come quelli che furo
lasciati dal mare sotterrati viui dentro al
fango, il qual 2 5poi si secc6 e col tenpo
petrified.

places remote from the sea by the deluge.
Another sect of ignorant persons declare
that Nature or Heaven created them in these
places by celestial influences, as if in these
places we did not also find the bones of
fishes which have taken a long rime to grow;
and as if, we could not count, in the shells
of cockles and snails, the years and months
of their life, as we do in the horns of bulls
and oxen, and in the branches of plants that
have never been cut in any part. Besides,
having proved by these signs the length of
their lives, it is evident, and it must be
admitted, that these animals could not live
without moving to fetch their food; and we
find in them no instrument for penetrating
the earth or the rock where we find them
enclosed. But how could we find in a large
snail shell the fragments and portions of
many other sorts of shells, of various sorts,
if they had not been thrown there, when
dead, by the waves of the sea like the other
light objects which it throws on the earth?
Why do we find so many fragments and
whole shells between layer and layer of stone,
if this had not formerly been covered on the
shore by a layer of earth thrown up by
the sea, and which was afterwards petrified?
And if the deluge before mentioned had
carried them to these parts of the sea, you
might find these shells at the boundary of one
drift but not at the boundary between many
drifts. We must also account for the winters
of the years during which the sea multiplied
the drifts of sand and mud brought down by
the neighbouring rivers, by washing down
the shores; and if you chose to say that
there were several deluges to produce these
rifts and the shells among them, you would
also have to affirm that such a deluge took
place every year. Again, among the frag-
ments of these shells, it must be presumed
that in those places there were sea coasts,
where all the shells were thrown up, broken,
and divided, and never in pairs, since they
are found alive in the sea, with two valves,
each serving as a lid to the other ; and in the
drifts of rivers, and on the shores of the sea they
are found in fragments. And within the limits
of the separate strata of rocks they are found,
few in number and in pairs like those which were
left by the sea, buried alive in the mud, which
subsequently dried up and, in time, was petrified.

5. fossi inali . . diluio . I frussi. 7. trovassi . . crcssciuti . . lugeza . . pote. 8. anvmerare . . casstroni . . del. 9. sign! dimostro
o la lungeza. 10. ecci bisognia chettali. n.illor nosi. 12. nvna gra lumacha . . altre sotte. 13. ture e essa sopa de . . morta
nolli . . comella. 14. etso . . atterra. 15. fussi . . uno. 16. trifichando . Essel diluio . . auessi . . troverresti hessi . .
incl. 17. none . . di [qualunche falda] "di moke" deuensi po anvmerare [li ani] le uernate. 18. del [fango] "larena eff-
angho" portatoli . . insu lid . . esset. 19. ennichi infralloro. 20. ongni . . tatal . . acaduto [e che tenessi] Ancora infralii.
ai.spiagia. 22. apaiati . . gussci cheffan . . iniralle. 24. apaiati di gussci . . lassciati sollcrati. 25. secho . . petrificho.

99I-993-]

GEOLOGICAL PROBLEMS.

Leic.

991.

E se tu vuoi dire che tale diluuio fu
quello che porto tali nichi fuor de' mari
cetinaia di miglia , questo no puo acca 2 dere,
essendo stato esso diluuio per cause di
pioggie, perche naturalmente le pioggie
spingono i fiumi insieme colle cose da loro
3portate inuerso il mare, e no tirano in-
verso de' moti le cose morte dai liti marit-
timi ., e setu dicessi che'l diluvio poi s'a! 4 zo
colle sue acque sopra de' moti, il moto del
mare fu si tardo col camino suo contro al
corso de' fiumi, che non avrebbe 5 sopra di
se tenvto a noto le cose piv gravi di lui,
e se pur 1'auesse sostenute, esso nel ca-
lare 1' avrebbe lasciate in diversi 6 lochi
seminate; Ma come accomoderemo noi
li coralli, li quali inverse Mote Ferrato
di Lonbardia esser si tuttoMl trovati
intarlati appiccati alii scogli , scoperti
dalle correti de' fiumi? e li detti scogli
sono tutti coperti di parentadi 8 e famiglie
d'ostriche, le quali noi sappiamo che no
si movono, ma sta senpre appiccate col'
u de' gusci al sasso, e Paltro apro^no per
che nota per 1' acque,
trovar bona pastura,
predetto nichio; non
mista coll' aliga ma-
rina essersi petrificata, poiche 1' aliga, che
la ramezzaua, venne meno; e di questo
IT scopre tutto il giorno il Po nelle ruine
delle sue ripe.

cibarsi d' animaluzzi ,
li quali, credendo
diuentano cibo del
si I0 trova 1' arena

And if you choose to say that it was
the deluge which carried these shells away from
the sea for hundreds of miles, this cannot
have happened, since that deluge was caused
by rain; because rain naturally forces the
rivers to rush towards the sea with all the
things they carry with them, and not to bear
the dead things of the sea shores to the
mountains. And if you choose to say that
the deluge afterwards rose with its waters
above the mountains, the movement of the sea
must have been so sluggish in its rise against
the currents of the rivers, that it could not
have carried, floating upon it, things heavier
than itself; and even if it had supported them,
in its receding it would have left them strewn
about, in various spots. But how are we to
account for the corals which are found every
day towards Monte Ferrato in Lombardy,
with the holes of the worms in them, sticking
to rocks left uncovered by the currents of
rivers? These rocks are all covered with
stocks and families of oysters, which as we
know, never move, but always remain with
one of their halves stuck to a rock, and the
other they open to feed themselves on the
animalcules that swim in the water, which,
hoping to find good feeding ground, become
the food of these shells. We do not find
that the sand mixed with seaweed has been
petrified, because the weed which was min-
gled with it has shrunk away, and this the Po
shows us every day in the debris of its banks.

Leic. 20 a]

992.

Perche sono trovate 1'ossa 2 de' gra

Why do we find the bones of great fishes other

pesci e le ostriche e coralli e altri diuersi and oysters and corals and various other bl ^ ms

1 1 "i 1 f _ i j_ _ __- i _ i in i M ,1 i i * _ r '99 994*'

nichi e chiocciole sopra 1'alte cime de'
moti ma^rittimi nel medesimo modo che
si trova ne' bassi mari?

shells and sea-snails on the high summits of
mountains by the sea, just as we find them
in low seas?

Leic. 36

993-

Tu ai ora a provare come li nichi no
nascono, se no in acque salse, quasi tutte
le sorte, e che 2 li nichi di Lonbardia anno

You now have to prove that the shells
cannot have originated if not in salt water,
almost all being of that sort; and that
the shells in Lombardy are at four levels,

991. i. Essettu volli . . chettale . . for . . po acha. 2. chause di piogie . . piogie spingano . . dallor. 3. morte de liti . . esse
. . diluui. 4. sittardo . . arebe [te]. 5. esse . . lauesi sosstenvte . . larebe lassciate. 6. acomodereno. 7. ildi . . "intarlati"
apichati alii scolgli . . elli . . scolgli . . parendadi e. 8. sapiano . . movano . . apichate cholu degussci . . apra. 9. danima-
luzi . . diuenta. 10. trova egli larena . . cholla . . poichellaliga chella framezaua. n. gorno.

993. 2. pessci elle osstriche . . cioccole. 993. i. nasscano. 3. chessabochano.

VOL. u. EE *

218

PHYSICAL GEOGRAPHY.

L994-

4 liuelli, e cosj per tutti, li quali sono
fatti in piv tepi, e questi ^sono per tutte
le ualli che sboccano alii mari.

and thus it is everywhere, having been made
at various times. And they all occur in
valleys that open towards the seas.

Hr. M. 156*1

994-

Per le 2 linie de* nicchi bisognia dire
che_la terra per sdegno 2 s'attufasse sotto
il mare, e fece il primo suolo, poi il di-
luuio J fece il secondo.

From the two lines of shells we are forced
to say that the earth indignantly submerged
under the sea and so the first layer was
made ; and then the deluge made the second.

994. i. nicch . . chellatcra. 2. sattu fassi sottollmare eflfe. 3. fe il sechondo.

994. This note is in the early writing of about
1470 1480. On the same sheet are the passages
No. 1217 and 1219. Compare also No. 1339. All the

foregoing chapters are from Manuscripts of about
1510. This explains the want of connection and the
contradiction between this and the foregoing texts.

VII.
ON THE ATMOSPHERE.

Leic. 20 a]

995-

Come la chiarezza dell' aria na 2 scie dal-
1'acqua che in quella s'e resoluta e fattasi
in Isesibili graniculi, li quali, preso il lume
del sole dall' op3posita parte, redone la chi-
arezza che in essa aria si dimonstra, e
1'azzurro, che in quella apparisce, nascie
* dalle tenebre, che dopo essa aria si na-
scondono.

That the brightness of the air is occa- Constituents
sioned by the water which has dissolved it- of th , e al

. . ., , mosphere.

self in it into imperceptible molecules.
These, being lighted by the sun from the
opposite side, reflect the brightness^which
is visible in the air; and the azure which is
seen in it is caused by the darkness that is
hidden beyond the air. [4]

Leic. 226]

996.

Come i retrosi de' ueti a certe 2 boche
di ualli percuotino sopra delle acque e
quelle concauino co gra cauameto, e portino
^Pacqua in aria in forma colunnale in color
di nugola, e il medesimo vid'io gia fare
sopra 4 V n arenaio d' Arno, nel quale fu
concauato 1' arena piu d'una statura d'uomo,
e sdi quella fu remossa la ghiaja e gittata
in disparte per lugo spatio, e parea per
1'aria in forma 6 di gradissimo canpanile,
e crescieva la sommita come i rami di
gran pino, e si piegaua ?poi nel con-
tatto del retto ueto che passaua sopra
li moti.

(996999).

That the return eddies of wind at the on the mo-
mouth of certain valleys strike upon the tion of air
waters and scoop them out in a great hol-
low, whirl the water into the air in the form of
a column, and of the colour of a cloud. And
I saw this thing happen on a sand bank in
the Arno, where the sand was hollowed out to
a greater depth than the stature of a man ; and
with it the gravel was whirled round and
flung about for a great space; it appeared in
the air in the form of a great bell-tower; and
the top spread like the branches of a pine tree,
and then it bent at the contact of the direct
wind, which passed over from the mountains.

995. i. chiareza. 2. sscie . . effattasi . . presi. 3. redano la ciareza . . dimosstra ellazurro . . apparissce nasscie . . nasscondano.

996. i. accerte. 2. percotino . . ecquelle . . chauamento. 3. colunale . . vidio cia. 4. duome he. 5. giara e gittatta. 6. ecres-
scieva lasomita . . rami di girapino essi.

995- 4- Compare Vol. I, No. 300.

220

PHYSICAL GEOGRAPHY.

[997-1000.

Lde.

997-

L'onda dell 1 aria fa il me'desimo vfitio The element of fire acts upon a wave of

infra 1' elemeto del fuoco -, che fa 1'onda air in the same way as the air does on

clell'acqua infra T aria, o 1'onda dcll'a3rena, water, or as water does on a mass of sand

doe terra, infra 1'acqua, e sono i lor moti that is earth; and their motions are in the

in tal proportione qual e quella de' lor same proportions as those of the motors

mo'tori infra loro. acting upon them.

S. K. M. Il.a 19*1

998.

DE MOTO. OF MOTION.

Domado, se '1 uero moto 2 de' nuvoli I ask whether the true motion of the

si puo conosciere -Jper lo moto delle sue clouds can be known by the motion of their

. M ^ * i t _i__i__ _ir i *i_ _ _/* A.I iJ _

ombre , 4 e similemete
sole.

del moto 5 del

shadows; and in like manner of the motion
of the sun.

H.3

999.

Per cognosciere 2 meglio i

veti.

To know better the direction
of the winds.

Lic. 340]

IOOO.

Nessuna cosa nasce in loco doue no
The globe sia vita sensitiua, vegetatiua e rationale;

an organism. nascono J e p enne S Opra H UCCelU, 6 si mv-

tano ogni anno ; nascono 2 li peli sopra li
animali, e ogni anno si mvtano, saluo al-
cuna parte, come li peli delle barbe de'
lioni e gatte e simi-Jli ; nascono 1' erbe sopra
li prati e le foglie sopra li alberi, e ogn'ano
in gra parte si rinovano; adunque potremo
dire, 4 la terra avere anima vegetatiua, e
che la sua carne sia la terra, li sua ossi
sieno li ordini delle collegationi de'

Nothing originates in a spot where there is
no sentient, vegetable and rational life ; feathers
grow upon birds and are changed every year;
hairs grow upon animals and are changed
every year, excepting some parts, like the
hairs of the beard in lions, cats and their
like. The grass grows in the fields, and
the leaves on the trees, and every year
they are, in great part, renewed. So that
we might say that the earth has a spirit of
growth; that its flesh is the soil, its bones the
arrangement and connection of the rocks of

997. 2. mfrallclemcto . . focho . cheffa. 3. coe . . infrallacqua essono . . quele quella delor.

998. 2. nvvoli spo. j. obre. 4. essimile i.ete.

999. i 2 R. s. cognosciere. 2. e veti.

1000. i. nance . . locho . . vita "sensitiua (intellettiva) vigitatiua e ra t'onale] nassce le pene . . essi . . nassce. 2. alchuna . .
essimi. 3. nassce . . elle . . potren. 4. vigitatiua e chella . . collcgatione. 5. comogano. 6. occeano . . cresscere e dis-

999. In connection with this text I may here pert quando j'<J arrompere U tep<f (Mode of weighing

mention a hygrometer, drawn and probably invented the air and of knowing when the weather will

by Leonardo. A facsimile of this is given in VoL I, change); by the sponge "Spugnea" is written,

p. 297 with the note: 'Modi di pesare I'arie tddi ta- 1000. Compare No. 929.

IOOO.]

ON THE ATMOSPHERE.

221

di che si compongono le motagnie, il suo
tenerume soiio li tufi , il suo sangue sono
le uene delle acque, il lago 6 del sangue,
che sta dintorno al core, e il mare oceano,
il suo alitare e '1 crescere e discrescere
del sangue 7pelli polsi, e cosi nella terra
e il flusso e riflusso del mare, e '1 caldo
dell' anima del mondo e il fuoco, 8 ch' e in-
fuso per la terra, e la residenza dell' anima
vegetativa sono li fochi, che per diuersi
lochi della 9 terra spirano in bagni, e in
miniere di solfi, e in vulcani, e Mo Gibello
di Sicilia, e altri lochi assai.

which the mountains are composed, its
cartilage the tufa, and its blood the springs
of water. The pool of blood which lies
round the heart is the ocean, and its brea-
thing, and the increase and decrease of the
blood in the pulses, is represented in the
earth by the flow and ebb of the sea; and
the heat of the spirit of the world is the
fire which pervades the earth, and the seat
of the vegetative soul is in the fires, which in
many parts of the earth find vent in baths and
mines of sulphur, and in volcanoes, as at Mount
in Sicily, and in many other places.

scresscere. 7. frusso e refrusso . . focho. 8. ella reside dell . . vigitativa. 9. in vulgano . . cicilia.

XVII.
Topographical Notes.

A large part of the texts published in this section might perhaps have found their
proper place in connection with the foregoing chapters on Physical Geography. But these
observations on Physical Geography, of whatever kind they may be, as soon as they are
localised acquire a special interest and importance and particularly as bearing on the
question whether Leonardo himself made the observations recorded at the places men-
tioned or merely noted the statements from hearsay. In a few instances he himself tells
us that he writes at second hand. In some cases again, although the style and expressions
used make it seem highly probable that he has derived his information from others
though, as it seems to me, these cases are not very numerous we find, on the other hand,
among these topographical notes a great number of observations, about which it is ex-
tremely difficult to form a decided opinion. Of what the Master's life and travels may have
been throughout his sixty-seven years of life we know comparatively little; for a long course
of time, and particularly from about 1482 to 1486, we do not even know with certainty
that he was living in Italy. Thus, from a biographical point of view a very great interest
attaches to some of the topographical notes, and for this reason it seemed that it would
add to their value to arrange them in a group by themselves. Leonardo's intimate
knowledge with places, some of which were certainly remote from his native home, are
of importance as contributing to decide the still open question as to the extent of Leo-
nardo's travels. We sJiall find in these notes a confirmation of the view, that the MSS.
in which the Topographical Notes occur are in only a very few instances such diaries as
may have been in use during a journey. These notes are mostly found in the MSS. books
of his later and quieter years, and it is certainly remarkable that Leonardo is very
reticent as to the authorities from whom he quotes his facts arid observations : For in-
stance, as to the Straits of Gibraltar, the Nile, the Taurus Mountains and the Tigris
and Euphrates. Is it likely that he, who declared that in all scientific research, his
own experience should be the foundation of his statements (see XIX PhilosopJiy
No. 987 991,) sJiould here have made an exception to this rule without mentioning it 1 ?

224 TOPOGRAPHICAL NOTES.

As for instance in the discussion as to the equilibrium of the mass of water in the
Mediterranean Sea a subject which, it may be observed, liad at that time attracted
the interest and study of hardly any other observer. The acute remarks, in Nos. 985993,
on the presence of shells at the tops of mountains, suffice to prove as it seems to
m ethat it was not in his nature to allow himself to be betrayed into wide gene-
ralisations, extending beyond the limits of his own investigations, even by such brilli-
ant results of personal study.

Most of these Topographical Notes, though suggesting very careful and
tliorough research, do not however, as has been said, afford necessarily indisputable
evidence that that research was Leonardo's own. But it must be granted that in more
than one instance probability is in favour of this idea.

Among the passages which treat somewhat fully of the topography of Eastern
places by far the most interesting is a description of the Taurus Mountains] but as this
text is written in the style of a formal report and, in the original, is associated with
certain letters which give us the history of its origin, I have thought it best not to
sever it from that connection. It will be found under No. XXI (Letters}.

That Florence, and its neighbourhood, where Leonardo spent his early years, should
be nowhere mentioned except in connection with the projects for canals , which occu-
pied his attention for some short time during the first ten years of tJie XVI th century,
need not surprise us. The various passages relating to the construction of canals in
Tuscany, which are put together at the beginning, are immediately followed by those
which deal with schemes for canals in Lombardy ; and after these come notes on the
city and vicinity of Milan as well as on the lakes of North Italy.

The notes on some towns of Central Italy which Leonardo visited in 1502, when
in the service of Cesare Borgia, are reproduced here in the same order as in the note
book used during these travels (MS. L., Institut de France). 77iese notes have but
little interest in themselves excepting as suggesting his itinerary. The maps of the
districts drawn by Leonardo at tlie time are more valuable (see No. 1054 note). The
names on these maps are not written from right to left, but in the usual manner, and
we are permitted to infer that they were made in obedience to some command,
possibly for the use of Cesare Borgia himself; the fact that they remained never-
theless in Leonardo's hands is not surprising when we remember tlie sudden political
changes and warlike events of the period. There can be no doubt that these maps,
which are here published for the first time, are original in the strictest sense of the
word, that is to say drawn from observations of the places themselves; this is proved
by tJie fact among others that we find among his manuscripts not only the finis/ted
maps themselves but the rough sketches and studies for them. And it would perhaps
be difficult to point out among the abundant contributions to geographical knowledge
published during the XVI*k century, any maps at all approaching these in accuracy
and finish.

The interesting map of the world, so far as it was then known, wJiich is among
the Leonardo MSS. at Windsor (published in the 'Archaeologia' Vol. XI) cannot
be attributed to the Master, as the Marchese Girolamo d'Adda has sufficiently proved;
it has not therefore been reproduced here.

TOPOGRAPHICAL NOTES. 225

Such of Leonardo's observations on places in Italy as were made before or after his
official travels as military engineer to Cesarc Borgia, have been arranged in alphabetical
order, imder Nos. 1034 1054. The most interesting are those which relate to tJie Alps
and the Appenines , Nos. 1057 1068.

Most of the passages in which France is mentioned have hitherto remained un-
known, as well as those which treat of the countries bordering on the Mediterranean,
which come at the end of this section. Though these may be regarded as of a more
questionable importance in their bearing on the biography of the Master than those
which mention places in France, it must be allowed that they are interesting as showing
the prominent place which the countries of the East held in his geographical studies.
He never once alludes to the discovery of America.

ITALY.

C. A. 45*1;

1001.

CANALE DI FIREZE.

2 Facciasi alle Chiane d'Arezzo tali
cateratte che, machando acqua 1' estate in
Arno-, il canale no rimaga arido; 3 e fac-
ciasi esso canale largo in fodo braccia 20 ,
e 30 in bocca, e braccia 2 s per 1' acqua
04-, perche dua d' esse braccia reca 4 alii
mvlini e li prati ; questo bonifichera il
paese , e Prato, Pistoia e Pisa insieme
co Fireze, faranno 1'anno di meglio s dugie-
to mila ducati , e porgieranno le mani
e spesa a esso aivtorio, e i Lucchesi
il simile, perche il lago di Sesto fia na-
vicabile; 6 fo lo fare la uia di Prato
e Pistoia e tagliare Serravalle . e uscire
nel lago , perche no bisognia conche o
sostegni i qua 7 li no sono eterni, anzi
senpre si sta in esercitio a operarli e
mantenerli.

8 E sappi che se, cauado il canale , doue
esso e profondo 4 braccia, si da 4 dinari
per braccio quadro , in doppia profondita
si 9 da 6 dinari, se fai 4 I0 braccia e' sono

CANAL OF FLORENCE.

Sluices should be made in the valley

..",_.,. , ,1 . v

of la Chiana at Arezzo, so that when,
in the summer , the Arno lacks water, the

111* 1 V

canal may not remain dry: and let this canal
be 20 braccia wide at the bottom, and at
the top 30, and 2 braccia deep, or 4, so that
two of these braccia may flow to the mills and
the meadows, which will benefit the country ; and
Prato, Pistoia and Pisa, as well as Florence,
will gain two hundred thousand ducats a year,
and will lend a hand and money to this useful
work ; and the Lucchese the same, for the lake
of Sesto will be navigable; I shall direct it to
Prato and Pistoia, and cut through Serravalle
and make an issue into the lake ; for there will
be no need of locks or supports, which are
not lasting and so will always be giving trouble
in working at them and keeping them up.

And know that in digging this canal
where it is 4 braccia deep, it will cost 4
dinari the square braccio; for twice the
depth 6 dinari, if you are making 4 braccia

connection

with the
Arno ,

*^ L>OO^.

looi. 2. alle chiane darezo . . chateratte . . machando . acqua \ lastate innarno. 3. effacciasi . . br. 20 .. boccha e br. 2 . 5 .
per qua . . dua desse br. rua (?) . 4. elli . . quessto . . pisstoia . . cho . . fia lano dimeglio. 5. porgierano le mani "esspesa"
..sessto. 6. folli fare . . ettagliare esscire. 7. etterni . Lines 815 br. stands always for braccia. 8. Essapi chesse chauado
il chanale . . dopia. 9. dinari [onsi in . 7 . si da il doppio . perche . quelle . sechonde 4 br. il tereno e giassmosso e
poi perche] seffai 4, 10. dellabri . . ellaltro. n. esse fussi. 12. cresse solo . i . bancho . . cresscie. 13. viene dinari sei

iooi. This passage is illustrated by a slightly
sketched map, on which these places are indicated

from West to East: Pisa, Luccha, Lago, Seravalle,
Pistoja, Prato, Firenze.

228

TOPOGRAPHICAL NOTES.

I IOO2 IOO4.

solamete 2 banchi -, cioe vno dal fondo
del fosso -alia superfitie de' labri del fosso ,
e Paltro da essi labri "alia somita del
mote della terra che d' in sulla riva
dell' argine- si leua-; e se fusse di doppia
profondita , esso argine "cresce solo
uno banco, cioe braccia 4 , che crescie
la meta della prima spesa, cioe che,
dove prima in 2 banchi si da'^va di-
nari 4 in 3 , si viene a dare sei a 2 di-
nari per banco, essendo il fosso in fondo
braccia 16; ancora se'l fosso fusse largo
bracciu 16 I4 e profodo 4 , venedo- a 4
L per opera , dinari 4 Milanesi il brac-
cio quadro ; il fosso che in fondo sara
braccia I5 32, verra a stare dinari 8 il
braccio quadro.

and there are but 2 banks; that is to say
one from the bottom of the trench to the
surface of the edges of it, and the other
from these edges to the top of the ridge of
earth which will be raised on the margin of
the bank. And if this bank were of double
the depth only the first bank will be in-
creased, that is 4 braccia increased by half
the first cost; that is to say that if at first
4 dinari were paid for 2 banks, for 3 it
would come to 6, at 2 dinari the bank, if
the trench measured 16 braccia at the bottom;
again, if the trench were 16 braccia wide
and 4 deep, coming to 4 lire for the
work, 4 Milan dinari the square braccio; a
trench which was 32 braccia at the bottom
would come to 8 dinari the square braccio.

L. ia\

1002.

Dal muro d'Arno della 2 Giustitia al-
1' argine d'Ar^no di Sardigna, dove sono
*i muri alle mulina, e braccia S 74OO, cioe
migla 2 6 e braccia 1400, 7 e'l di la d'Arno
e braccia 5500.

From the wall of the Arno at [the gate
of] la Giustizia to the bank of the Arno at
Sardigna where the walls are, to the mills, is
7400 braccia, that is 2 miles and 1400 brac-
cia and beyond the Arno is 5500 braccia.

C. A. 284 a; 865 a]

1003.

Dirizzare Arno 2 di sotto e di sopra;
3 s' auanzera vn tesoro, 'a tanto per stajoro
s a chi lo vole.

By guiding the Arno above and below
a treasure will be found in each acre of
ground by whomsoever will.

Br. M. 273*]

1004.

n muro dalle 2 Casaccie si 3dirizza alia
porta di san Niccolo.

The wall of the old houses runs towards
the gate of San Nicolo.

. . bancho "essendo il fosso in fondo braccia 16" anchora . . fusi largho. 14. [e al] e profodo.. 15. vena dinari.
looa. 2. gusstitia. 4. e br. 5. [8000] 7400 coe. 6. br. 7. br.
1003. i. dirizare arnno. 4. attanto pcrisstaioro. 1004. i. mro d-lle. 2. casace [con]. 3. diriza. 4. nicolo.

1002. 2. Giustizia. By this the Porta della
Giustizia seems to be meant; from the XVth to the
XVIth centuries it was also commonly known as
Porta Guelfa, Porta San Francesco del Renaio, Porta
Nuova, and Porta Reale. It was close to the, Arno
opposite to the Porta San Niccol6, which still exists.

1004. By the side of this text there is an in-
distinct sketch, resembling that given under No. 973.
On the bank is written the word Casace. There
then follows in the original a passage of 12 lines in
which the consequences of the windings of the
river are discussed. A larger but equally hasty
diagram on the same page represents the shores of

the Arno inside Florence as in two parallel lines.
Four horizontal lines indicate the bridges. By the
side these measures are stated in figures: i. (at the
Ponte alia Carraja): 230 largho br. 12 e 2 di spoda
e 14 di pile e a ^pilastri; 2. (at the Ponte S. Trinita):
188 largho br. 15 e 2 di sfode he 28 di pilastri for
delle specie e pilastri so 2 ; 3. (at the Ponte vecchio) ;
pote lung br. 152 e largo; 4. (at the Ponte alle Grazie):
290 ellargo 12 e 2 di spdde e 6 di pili.

There is, in MS. W. L. 2I2*> , a sketched plan of
Florence, with the following names of gates: .M-
cholo Saminiato Giorgo Ghanolini Porta San Fre.fian
PratoFaenza GhalloPinti Giustitia.

iocs loo/.J

CANALS IN TUSCANY.

229

Br. M. 274 ] IOO5

640 braccia e il muro rotto, 2 e 130 e il
muro rimanete, 3 C ol mulino 4 3OO braccia
a rotto dal Bisarno in 4 anni.

The ruined wall is 640 braccia; 130 is the
wall remaining with the mill; 300 braccia
were broken in 4 years by Bisarno.

W. L. 226 a\

IOO6.

No sanno, perche Arno 2 non stara mai
in ca 3 nale ; perche 4 i fiumi che vi mettono,
s nella loro entrata p6 6 gono terreno, e dalla
oppo?sita parte leuano e 8 pieganvi il fiume;
96 miglia si fa per Ar I0 no dalla Caprona
a Li^vorno, e 12 si fa per li I2 stagni che
s'avazano 32 ^miglia, e 16 dalla Caprona
14 in su, che fa 48 'Sper Arno da Firenze,
l6 avanzasi 16 miglia; a Vico miglia 16, ^e'l
canale a 5; l8 da Firenze a Fucechio miglia

40 per I9 acqua d'Arno.

20 Miglia 56 per Arno 2I da Fireze a
Vico, 22 e pel canale di Pistoia 2 3e miglia
44-adu 24 que e piv corta 12 2 s miglia per
canale che per Arno.

They do not know why the Arno will
never remain in a channel. It is because
the rivers which flow into it deposit earth
where they enter, and wear it away on the
opposite side, bending the river in that
direction. The Arno flows for 6 miles be-
tween la Caprona and Leghorn; and for 12
through the marshes, which extend 32 miles,
and 1 6 from La Caprona up the river, which
makes 48; by the Arno from Florence beyond
1 6 miles; to Vico 16 miles, and the canal is
5 ; from Florence to Fucechio it is 40 miles
by the river Arno.

56 miles by the Arno from Florence to
Vico ; by the Pistoia canal it is 44 miles.
Thus it is 12 miles shorter by the canal
than by the Arno.

Leic.

1007.

Cocauita fatta da Mesola,
quado Arno e basso e Me-
sola grossa.

The eddy made by the
Mensola, when the Arno is
low and the Mensola full.

1005. i. 6400 bre. 2. moro.

1006. 2. nonistara. 4. mettano. 6. ga terreno e dallopo. 10. caprona alii. 12. savaza. 17. ecanale. 19. acq"a". 24. chorta.

1006. This passage is written by the side of a
map washed in Indian ink, of the course of the
Arno; it is evidently a sketch for a completer map.

These investigations may possibly be connected
with the following documents. Francesco Guidiicci alia
Dalla di Firenze. Dal Campo contra Pisa 24 Luglio 1503
(Archivio di Stato, Firenze, Lettere alia Balla; published
by J. GAVE, Carteggio inedito d'Artisti, Firenze 1840,
Tom. H, p. 62) : Ex Castris, Franciscus Ghuiduccius,
24. Jul. 1503. Appresso fu qui hieri con una di V.
Signoria Alexandra degli Albizi insieme con Leonardo da
Vinci et certi altri, et veduto el disegno insieme con el
ghcrvernatore, doppo molte discussioni et dubii conclusesi
che Paper a fussi molto al proposito, a si veramente Arno
volgersi qui, o restarvi con un canale, che almeno viete-
rebbe che le colline da nemici nan potrebbono essere offese;
come tucto referiranno loro a bocha V, S.

And, Archivio di Stato, Firenze, Libra d' 1 Entrata
e Uscita di cassa de' 1 Magnifici Signori di luglio e agosto

J 5 O 3 a S 1 7*' ; Andata di Leonardo al Campo sotto
Pisa. Spese extraordinarie dieno dare a di XXVI di
luglio L. L VI sol. XIII per loro a Giovanni Piffero;
e sono per tanti, asegnia avere spexi in vetture di set
chavalli a spese di vitto per andare chon Lionardo da
Vinci a livellare Arno in quello di Pisa per levatto del
lito suo. (Published by MILANESI, Archivio Storico
Italiano, Serie III, Tom. XVI.) VASARI asserts : (Leo-
nardo) fu il primo ancora, che giovanetto discorresse sopra
il fiume d^Arno per metier lo in canale da Pisa a Fio-
renza -(ed. SANSONI, IV, 20).

The passage above is in some degree illustrated
by the map on PI. CXII, where the course of the
Arno westward from Empoli is shown.

1007. Mensola is a mountain stream which falls
into the Arno about a mile and a half above
Florence.

A=Arno, I=Isola, M=Mvgone, P=Pesa, N=Me-
sola.

230

TOPOGRAPHICAL NOTES.

1008- 1010.

1008.

Come il fiume, che s'a a piegare d'uno
in altro loco, debbe essere lusin'gato e no
con uiolenza aspreggiato, e a questo fare si
de' cauare infra' 1 fiume alquato Jdi P es '
caia, e poi di sotto gittarne vna piv inati,
e cosl si faccia colla 3" 4 a e 5 a , in modo
che M fiume inbocchi col canale'datoli, o che
per tal mezzo si scosti dal loco da lui dan-
neggiato, come 5 fu fatto in Fiadra, dettomi
da Niccol6 di Forzore;

Come si de' vestire di riparo vn argine
percosso 6 dal'acqua, come sotto Pisola
de' Cocomeri.

That the river which is to be turned
from one place to another must be coaxed
and not treated roughly or with violence;
and to do this a sort of floodgate should be
made in the river, and then lower down
one in front of it and in like manner a
third, fourth and fifth, so that the river may
discharge itself into the channel given to it,
or that by this means it may be diverted
from the place it has damaged, as was done
in Flanders as I was told by Niccol6 di
Forsore.

How to protect and repair the banks
washed by the water, as below the island
of Cocomeri.

Fig- 3-

Fig. 2.
?P6te Rubaconte (Fig. i); 8 sotto il Bi-

Ponte Rubaconte (Fig. i); below [the pala-

sticci 9 e Canigiani (Fig. 2); I0 sopra la pe- ces] Bisticci and Canigiani (Fig. 2). Above the
scaiade lt lla Givstitia (Fig. 3); 12 a b e vna flood gate of la Giustizia (Fig. 3); a b is a

secca 13 a riscotro doue fi'^niscie Pisola de'
Coco' 5 meri in mezzo d'Ar l6 no (Fig. 4).

sand bank opposite the end of the island of the
Cocomeri in the middle of the Arno (Fig. 4).

C. A. 3873; ii97<i] lOOQ.

CanaUjnthe Navilio di san Cristoforo di Milano The canal of San Cristofano at Milan

1^). fatto a dl 3 di maggio 1509. made May 3 rd 1509.

1010.

DEL CANALE DI MARTESANA.

OF THE CANAL OF MARTESANA.

*Facedo il canale di Martesana e'si By making the canal of Martesana the

diminuisce ^Pacqua all' Adda, la qual e water of the Adda is greatly diminished by

destribuita in mol^ti paesi alseruiti'o de'prati; its distribution over many districts for the

Ecco vn rime s dio, e questo e di fare molti irrigation of the fields. A remedy for this

1008. i. chessa . . locho. 2. asspreggato e acquessto. 4. inbochi . . mezo si scossti dal locho dallui damegato. 5. nicholo
. . percossa. 8. besticci . 9. camigagani. 10. pesscaja. n. giosstitia. 15. imezo.

1009. crisstofano . . facto addi . . maggo.

1010. i. martigana. 2. martigana . . diminuissce. 3. imol. 4. Ecci. 5. ecquesto . . checq. 6. beuta datta terra. 8. nessono

1008. The course of the river Arno is also
discussed in Nos. 987 and 988.

1009. This observation is written above a washed
pen and ink drawing which has been published as
Tav. VI in the n Saggio. n The editors of that work
explain the drawing as "uno Studio di boeche per
estranone d'afyua."

1010. "el nmrilio di Martogantf* is also mentioned

in a note written in red chalk, MS. H* 17"
Leonardo has, as it seems, little to do with
Lodovico il Moro's scheme to render this canal na-
vigable. The canal had been made in 1460 by
Bertonino da 'Novara. II Moro issued his degree
in 1493, but Leonardo's notes about this canal were,
with the exception of one (No. 1343), written about
sixteen years later.

IOII. IOI2.]

CANALS IN THE MILANESE.

231

fontanili, che q 6 uell'acqua, che e bevuta
dalla terra no fa ser^uitio a nessuno, ne
ancora danno, perche a 8 nessuno e tolta,
e facedo tali fontanili, 1'acqua, 9 che prima
era perduta, ritorna di nouo a rifa I0 re
seruitio e vtile alii ominr.

would be to make several little channels, since
the water drunk up by the earth is of no
more use to any one, nor mischief neither,
because it is taken from no one; and by
making these channels the water which before
was lost returns again and is once more
serviceable and useful to men.

Leic.

IOII.

Nessuno canale, che esca fori de'fiumi,
sara durabile, se 1'acqua del flume, donde
2 nascie, non e integralmete rinchiusa come
il canal diMartisana e quel ch'escie diTesino.

No canal which is fed by a river can be
permanent if the river .whence it originates
is not wholly closed up, like the canal of
Martesana which is fed by the Ticino.

C. A. 1391?; 42i(5]

Dal principio del navilio al
mo 2 lino.

3 Dal pricipio del navilio di
Briuio al ^molino del Travaglia e
trabochi 2794, s cioe braccia 11176,
che son piu di 3 miglia 6 e due
terzi, e quiui truovo 'piu alto il
7 navilio che la pelle dell'acqua di

IOI2.

From the beginning of the canal
to the mill.

From the beginning of the canal
of Brivio to the mill of Travaglia is
2794 trabochi, that is 11176 brac-
cia, which is more than 3 miles
and two thirds; and here the canal
is 57 braccia higher than the surface

ettolta'effacedo . . lacq"a". 9. primo. 10. omini E . there tfte text breaks off.
ion. i. chanale^. . essca . . sellacqua. 2. nasscie . . rinciusa . . tessino.
1012. marligana ccquel . . esscie. 5. br. 11176. 6. ecquini. 7. chella . . dellacq"a' . . br. 57. 8. chalo.

1012. The following are written on the sketches: of Travaglia); at R: rochetta ssanta maria (small rock
At the place marked N: navilio da dacqitiue (canal of Santa Maria); at A: Adda; at L: Lagho di Lectio
of running water); at M: molin del Travaglia (Mill ringorgato alii 3 corni in Adda, Concha perpetua (lake

232

TOPOGRAPHICAL NOTES.

[1013. 1014.

Adda braccia 57, 8 a dare due ode di of the water of the Adda, giving a fall of
calo per ogni ceto trabochi, 9 e in tal sito two inches in every hundred trabochi; and

disegniamo torre la bocha
navilio.

I0 del nostro at that spot we propose to take the opening
of our canal.

C. A. 233 a; 700 a]

1013.

ISe no ui si da fama che questo sia
canale pu 2 blico, e'sara necessario pagare il

If it be not reported there that this
is to be a public canal, it will be necessary

terreno, 3e lo paghera il re col lasciare to pay for the land; and the king will pay it

li dazi d'un ano.

by remitting the taxes for a year.

43"!

1014.

for c
(1014.

NAVILIO.

2 J1 navilio che sia largo in fodo 3 brac-
cia 16 e in bocca 20 , si potra dire 4 in
so ma tutto largo braccia 18 , e se sara
nais s profondo 4 braccia , a 4 dinari il qua-
dretto , 6 costera il miglio cayatura sola
7 due . 900 , essendo i quadreti di 8 comune
braccio, ma se le braccia saranno 9 a vso
di misura di terra , che ogni I0 4 . son 4 .
e x /2 e se il miglio s'i"tede di tre mila
braccia comuni, a tornar I2 in braccia- di-
terra le sua 3000 braccia tor'^nano maco
V 4 , che restano braccia ^2250, che a
4 dinari il braccio, mota ' 5 il miglio
ducati 675; a 3 dina l6 ri il quadretto mota
il miglio ducati I7 5O6V 4 , che la cavatura
di 30 mi l8 glia di navilio mota ducati
1 5 187 '/*

CANAL.

The canal which may be 16 braccia wide
at the bottom and 20 at the top, we may
say is on the average 18 braccia wide, and if
it is 4 braccia deep, at 4 dinari the square
braccia; it will only cost 900 ducats, to exca-
vate by the mile, if the square braccio is
calculated in ordinary braccia; but if the
braccia are those used in measuring land, of
which every 4 are equal to 4%, and
if by the mile we understand three thousand
ordinary braccia; turned into land braccia,
these 3000 braccia will lack J / 4 ; there remain
2250 braccia, which at 4 dinari the braccio
will amount to 675 ducats a mile. At 3
dinari the square braccio, the mile will
amount to 506 V 4 ducats so that the exca-
vation of 30 miles of the canal will amount
to 1 5i87 T /2 ducats.

1013. 2. necesario. 3. ello pagera . . lidati.

1014. 2. chessia. 3. br. 16 . . boccha . . portra di. 4. tucto . . br. 18 essessara. 5. 4 br. a 4 . di. 6. chosstera. 7. quadrecti.
8. br. masscllebr. sarano. 10. I /2 M sseil. n. mila br. 12. br. di . . comunitornar. 12. 3000 br. 13. restano br.
14. il |br. id. due. 17. chella. 18. colasciare due.

of Lecco overflowing at Tre Corni, in Adda,
a permanent sluice). Near the second sketch, re-
ferring to the sluice near Q: qui la chatena ttalie
</'H peso (here the chain is in one piece). At M in
the lower sketch: mo/' del fravagfia, nel cavare la
contha U tereno ara ckotrapeso c9 fossa d'acgtia (Mill
of Travaglia, in digging out the sluice the soil
will have as a counterpoise a vessel of water).

1013. 3. il re. Louis XII or Francis I of France.
It is hardly possible to doubt that the canals here
spoken of were intended to be in the Milanese.
Compare with this passage the rough copy of a
letter by Leonardo, to the "Presuiente dell 1 Ufficio
regolatore deir aequa" on No. 1350. See also the
note to No. 745, 1. 12.

-fit

ioi8.J

ITALY.

233

Br. M. 149 a]

1015.

Per fare il gra 2 canale, fa prima ^il To make the great canal, first make the

piccolo e dalli *!' acqua, che colla s r ota fara smaller one and conduct into it the waters
il grade. which by a wheel will help to fill the great one.

C. A. 72<5; 211,5]

UPoni il uero mezzo di Milano.li

1016.

Indicate the centre of Milan.

Moforte porta resa porta nova strada nova navilio porta cumana barco porta Notes on
giovia porta vercellina porta sco Anbrogio porta Tesinese torre dell'Imperatore ul Miifn a '
porta Lodovica acqua. (1016-1019).

1017.
A

Rifosso di Mila 2 no;

3Canale * largo 2 sbraccia;

6 Castello 7 con fossi ingor-
gati;

8 Ingorgatione 9 de' fossi del
I0 castello di Mila.

The moat of Milan.

Canal 2 braccia wide.

The castle with the moats
full.

The filling of the moats of
the Castle of Milan.

I.i

1018.

BAGNO.

2 Per iscaldare 1' acqua della stufa della
3duchessa torrai 3 parti d' acqua cal ri da
sopra 4 parti d' acqua fredda.

THE BATH.

To heat the water for the stove of the
Duchess take four parts of cold water to
three parts of hot water.

1015. i 5 R. 3-. picholo. 4. lachq"a" che cholla.

1016. i. mezo; barcho tore delomperatore porta lodovicha.

1017. 7. co fossi. 1018. 2. lacq"a". 3. torai . . parte dacq"a" chal. 4. dacq"a".

1016. See PI. CIX. The original sketch is here
reduced to about half its size. The gates of the
town are here named, beginning at the right hand
and following the curved line. In the bird's eye
view of Milan below, the cathedral is plainly recog-
nisable in the middle ; to the right is the tower of San
Gottardo. The square, above the number 9147, is
the Lazzaretto, which was begun in 1488. On the
left the group of buildings of the 'Castelld 1 will be

VOL. II.

noticed. On the sketched Plan of Florence (see
No. 1004 note) Leonardo has written on the margin
the following names of gates of Milan: Vercel-
lina Ticinese Ludovica Romana Orientale
Nova Beatrice Cumana. Compare too No. 1448,

11. 5. I*-

1018. Duchessa di Milano, Beatrice d'Este, wife of
Ludovico il Moro to whom she was married, in
1491. She died in June 1497.

234

L. 15 )

TOPOGRAPHICAL NOTES.

1019.

[10191021.

In domo alia car-
ruco*la del chiodo
della croce;

3 item.

* Da mettere il
5 corpo v r 6 nello ....

In the Cathedral at
the pulley of the nail
of the cross.

Item.

To place the mass
v r in the .

E. i a]

DELLA POTENTIA DEL UACUO
ISTATE.

3Vidi a Milano va saetta percuotere la
4 torre della Credenza da quella parte Sche
risguarda tramotana e disciese 6 con tardo
moto per esso lato, e inmediate 7 si divise
da essa torre, 8 e si ualse d'esso ^muro uno
spa I0 tio di 3 braccia per o"gnivo e pro-
I2 fondo due, e 'jquesto muro ^era grosso
4 braccia, 15 ed era mura l6 to di sottili e
I7 minuti matto l8 ni antichi, '9e questo fu
ti 20 rato dal uacu 2I o, che la 22 fiama della
2 3 saetta lascio 24 di se ecc.

IO2O.

'GIENERATO IN OF THE FORCE OF THE VACUUM FORMED IN

A MOMENT.

I saw, at Milan, a thunderbolt fall on
the tower della Credenza on its Northern
side, and it descended with a slow motion
down that side, and then at once parted from
that tower and carried with it and tore away
from that wall a space of 3 braccia wide
and two deep; and this wall was 4 braccia
thick and was built of thin and small old
bricks; and this was dragged out by the
vacuum which the flame of the thunderbolt
had caused, &c.

Leic. 28 a

lo sono gia stato a vedere tal mvltipli-

I have already been to see a great
variety (of atmospheric effects). And lately
over Milan towards Lago Maggiore I saw a

Remarks on catione (di aric) e gia 2 sopra a Milano in-
n nomeL P ^n verso " a S Maggiore vidi vna nvuola in

and near

Milan
(1021. 1022). 1019. i. charucho. 2. ciodo. 6. nello s here the text breaks off.

1020. i. uachuo. 2. isstate. 3. perchotere. 4. dacquella. 5. rissghuarda motana e dissciesse. 7. torre e porto chonsecho.
8. essiulse. 10. 3. br. 13. cquesto. 14. 4 br. 18. antichi ec. 19. ecquessto. 20. uachu. 21. chella. 23. lasscio.

1021. i. mvltiplicatione e ga. 2. magore . . motaggnia . . scoli. 3. infochati . . razi . . ga . . orizonte . . rossegaua . .

. 1019. On this passage AMORETTI remarks (Me-
morie Storiche chap. IX): NeWanno stesso lo veggiamo
formare un congegno di carucole e di corde, con. cut tras-
portare in piu venerabile e piu sicuro luogo, doe nel-
r ultima arcata della nave di mezzo dtlla metropolitana, la
sacra reliquia del Santo Chiodo, che rvi ancor si venera.
Al fol. 15 del codice segnato Q. R. in 1 6, egli ci ha la-
sciata di tal congegno una doppia figura, doe una di
qttattro carucole, e una di tre colle rispettive corde, sog-
Siugnandovi: in Domo alia carncola del Chiodo della
Croce.

AMORETTI'S views as to the mark on the MS.
and the date when it was written are, it may be

observed, wholly unfounded. The MS. L, in which
it occurs, is of the year 1502, and it is very un-
likely that Leonardo was in Milan at that time;
this however would not prevent the remark, which
is somewhat obscure, from applying to the Cathedral
at Milan.

1020. With reference to buildings at Milan see
also Nos. 751 and 756, and PI. XCV, No. 2 (ex-
plained on p. 52), PI. C (explained on pages 60 62).
See also pages 25, 39 and 40.

1021. di arie is wanting in the original but may
safely be inserted in the context, as the formation
of clouds is under discussion before this text.

IO22. IO23-]

ITALY.

235

forma di grandissima motagnia, piena di
scogli 3 infocati, perche li razzi del sole, che
gia era all'orizzonte che rosseggiava, la
tigneano del suo colore, e questa tal nugola
* attraeva a se tutti li nvgoli piccoli che in-
torno li stavano, e la nugola grade no si
mouea di suo loco, anzi risseruo nella sua
sommita il lume del sole insino a una ora
e mezzo di notte, tant'era la sua im-
mesa gradezza; 6 e infra due ore di notte
gienero si gran veto che fu cosa stupeda
e inavdita.

cloud in the form of an immense mountain
full of rifts of glowing light, because the
rays of the sun, which was already close to
the horizon and red, tinged the cloud with its
own hue. And this cloud attracted to it all
the little clouds that were near while the large
one did not move from its place; thus it retain-
ed on its summit the reflection of the sunlight
till an hour and a half after sunset, so immen-
sely large was it; and about two hours after
sunset such a violent wind arose, that it
was really tremendous and unheard of.

W. XXVIII.]

IO22.

A dl 10 di diciembre a ore 15 2 fu
appicato il fuoco;

3 A dl 18 di dicembre 1511 a ore 15
fu fatto questo ^secondo incendio da Suiz-
zeri a Milano Sal luogo detto DCXC.

On the io th day of December at 9
o'clock a. m. fire was set to the place.

On the 1 8 th day of December 1511 at 9
o'clock a. m. this second fire was kindled by
the Swiss at Milan at the place called DCXC.

li. 58 ]

1023.

Camini del castello di Pauia,
2 ano 6 gradi di busi; e dalPuno
^all'altro uno braccio.

The chimneys of the castle of Note on

Pavia.

Pavia have 6 rows of openings and
from each to the other is one
braccio.

ecquesta. 4. asse . . picholi . . locho. 5. soraita . . mezo . . imesu gradeza. 6. stupete inavldita.
ioaa. 15 (R). 2. apicato . . fuocho. 3. Lore. 4. suizeri. 5. alloguo dicto.
1023. 2 - buse. 3. i br.

1022. With these two texts , (1. I 2 and 1. 3 5 1023. Other notes relating to Pavia occur on

are in the original side by side) there are sketches p. 43 and p. 53 (PI. XCVIII, No. 3). Compare No.
of smoke wreaths in red chalk. H4&, 26.

236

TOPOGRAPHICAL NOTES.

[IO24I028.

H.t

* JgC

7*1 I024 '

A di 2 di febraro 1494 alia 2 Sforzesca On the 2 nd day of February 1494.

i scalini 25 3 di 2 /3 di braccio 1'uno, At Sforzesca I drew twenty five steps, 2 / 3
braccia 8. braccia to each, and 8 braccia wide.

H. 38-) I025 '

Vignie di Vigevano 2 a dl 20 di marzo The vineyards of Vigevano on the 20 th

1494 day of March 1494.

H. i i a]

Da serrare in chiave vno
Vigievano.

I.eic. 21 a]

IO26.

Icastro 2 a To lock up a butteris at Vigevano.

1027.

Ancora se la infima parte dell'argine
trauersalmete opposto al cor 2 so delle acque
sara fatto in potenti e larghi gradi a uso
di scala, 1' acque ^ c he nelP abassamento
del lor corso sogliono perpendicularmente
cadere dal termine di tale loco in infima
sua bassezza e scalzare i fondameti d'esso
argine, non poHran piu discendere con
colpo di troppa valitudine; e lo esenpio
dico fu a me quella 6 scala, onde cadea
1'acqua de'prati della Sforzesca di Vige-
uano, sulla quale ui cadea 7 1' acqua correte
in 50 braccia d'altezza.

Again if the lowest part of the bank
which lies across the current of the waters
is made in deep and wide steps, after the
manner of stairs, the waters which, in their
course usually fall perpendicularly from the
top of such a place to the bottom, and wear
away the foundations of this bank can no
longer descend with a blow of too great a
force; and I find the example of this in the
stairs down which the water falls in the
fields at Sforzesca at Vigevano over which
the running water falls for a height of 50
braccia.

Leic. 320)

1028.

Scala di Vigevano 2 sotto la Sforzesca
di 130 3scaglioni, alti J /4 e lar*ghi x /2 brac-
cio, per la qual s C ade 1'ac-
qua e non 6 consuma niete
nell' ultima percussione , e
per 8 tale scala e disceso stanto
terreno che a I0 ssecco vn pa-
dule, cio"e riempl,
n'e fat I2 to praterie da
le di gra profondita.

Stair of Vigevano below La Sforzesca,
130 steps, */4 braccio high and '/ 2 braccio wide,
down which the water falls, so as
not to wear away anything at the
end of its fall; by these steps
so much soil has come down
that it has dried up a pool;
that is to say it has filled it up
and a pool of great depth has
been turned into meadows.

1024. '3 R- i- alias. 2. sforzesscha . . schalini. 3. di br . . large br.

ioaj. i2 R. i. vigievine. ioa6 12 R. i. asserare. 2. avigievine.

1097. i. sclla . . pare . . oposto. 2. fatti . . ellarghi . . disscala lacqua. 3. 2 . delor soglian . . chadere. 4. tale infima . .

basseza e dissalzare . . desse. 5. dissciendere . tropa . . ello . . foame colla. 6. pradi . . sforzessca di uigieuine la qual

ui cadea su. 7. corete . . br. dalteza.
ioa8. i. schala di uigeuine. 2. sforzessa di [too] 130. 3. ellar. 4. V* br . . 5. chade. 7. perchussione. 8. dissceso. 10. echo

. . co. ti. rienpivto essene. 12. di padu.

1024. See PL CX, No. 2. The rest of the notes on this page refer to the motion of water. On the
lower sketch we read: 4 br. (four braccia) and giara (for ghiaja, sand, gravel).

1025. On one side there is an effaced sketch in red chalk.

PL. CX.

" *-" -

Duiardin

Imp Exidea

1029. 1030.]

ITALY.

237

Leic. ii 6}

I02Q.

Come in molti lochi si trovano ve 2 ne
d'acqua che sei ore crescono e sei ore
calano, e io per me n' 6 veduto vna in sul
lago di Como, detta fonte Pli^niana, la
quale fa il predetto cresciere e diminuire
in modo che, quando uersa, macina due
mulini, e quado maca, *cala s * ch'egli e
come guardare 1'acqua in vn profondo
pozzo.

are

streams of Not son , thc

North
SIX hOUrS and ebb Italian lakes

In many places there
water which swell for
for six hours ; and I , for my part, have ( I02 9- I0 33)-
seen one above the lake of Como called
Fonte Pliniana, which increases and ebbs,
as I have said, in such a way as to turn
the stones of two mills; and when it fails it
falls so low that it is like looking at water
in a deep pit.

c. A.

1030.

LAGO DI COMO - 2 VAL DI CHIAUENNA.

sSu pel lago di Como, diuerso la Magnia,
e valle Chiauenna doue la Mera fiume
mette in esso tlago; qui si truovano mo-
tagnie- sterili e altissime- con gradi scogli-;
J queste motagnie s]i uccielli d'acqua sono
detti maragoni; qui nascono abeti, larici
e pini , daini, stabecchi, camoz 6 zi e terribili

orsi ; no ci si puo motare , se non e a
4 piedi ; vannoci i villani a'tepi delle
7 nevi co gradi ingegni per fare trabocare
gli orsi giv per esse-ripe; queste 8 motagnie
strette mettono in mezzo il fiume , sono
a destra e a sinistra per spatio ?di miglia
20 . tutte a detto modo ; truovasi di miglio
in miglio bone osterie ; su I0 per detto fiume

si truovano cadute d'acqua di 400 braccia,
le quali fanno bel vedere ; 1 1 e c' e bo uiuere

a 4 soldi per scotto ; per esso fiume si
coduce assai legniame.

VAL SASINA.

Sasina-viene diuerso la Italia.;
questa e quasi di simile forma e natura;
I4 nascie vi assai mappello , e ci sono gra
ruine e cadute d'acque.

LAKE OF COMO. VALLEY OF CHIAVENNA.

Above the lake of Como towards Ger-
many is the valley of Chiavenna where the
river Mera flows into this lake. Here are
barren and very high mountains, with huge
rocks. Among these mountains are to be
found the water-birds called gulls. Here
grow fir trees, larches and pines. Deer, wild-
goats, chamois, and terrible bears. It is impos-
sible to climb them without using hands and feet.
The peasants go there at the time of the snows
with great snares to make the bears fall down
these rocks. These mountains which very clo-
sely approach each other are parted by the river.
They are to the right and left for the distance of
20 miles throughout of the same nature. From
mile to mile there are good inns. Above on the
said river there are waterfalls of 400 braccia
in height, which are fine to see; and there is
good living at 4 soldi the reckoning. This
river brings down a great deal of timber.

VAL SASINA.

Val Sasina runs down towards Italy; this
is almost the same form and character. There
grow here many mappello and there are great
ruins and falls of water [14].

1039. i. imolti . . trova. 2. cresscano essei . . chalano . . veduta . . sulago di chomo . . fonte pri. 3. cressciere macina piv

mulina . . macha. 4. chalisi . . lacqua non . . pozo.
1030. 2. ciauenna. 3. super., diuer . . ciauenna . . "fiume" mette. 4. truovamotagni . . chon. 5-dacquadette . . nasscie . . larice

eppini . . sta becchechamo. 6. ze . . teribili . . po..delli. 7. cho grade ingiegi i . . trabochare. 8. metano . . mezo . . des-

stra e assinistra . . isspatio. 9. imiglio. io. truova chadute . . br. le quale. u. uci bo . . ischotto per ess . . choduce.

14. nasscievi . . ecci gra . . ecchadute. 15. valle ditrozzo. 16. ellarici. 17. tessta . . Voltolina elle . . leorme. 18. sepre

1029. 2. 3. The fountain is known by this name
to this day : it is near Torno, on the Eastern shore
of Como. The waters still rise and fall with the
flow and ebb of the tide as Pliny described it
(Epist. IV, 30; Hist. Nat. II, 206).

1030. 1031. From the character of the hand-
writing we may conclude that these observations

were made in Leonardo's youth; and I should infer
from their contents, that they were notes made in
anticipation of a visit to the places here described,
and derived from some person (unknown to us) who
had given him an account of them.

14. The meaning of mappello is unknown.

TOPOGRAPHICAL NOTES.

[1031.

VALLE D'INTROZZO.

l6 Questa valle produce assai abeti
pini e land , e doue Anbrogio Fereri fa
7 venire il suo legniame ; in testa della
Valtellina sono le motagnie di Bormio,
I8 terribili e piene sepre di neve; qui na-
scono ermellini.

A BELLAGGIO.

20 A riscontro a Bellaggio castello e il
fiume Latte , el quale cade da alto 2I piv
che braccia 100 dalla vena , donde nascie,
a piobo nel lago co inestimabile strepito
"e romore ; questa vena versa solamete
agosto e settebre.

VALTELLINA.

^Valtellina-, com'e detto, valle circu-
data d'alti e terribili moti, fa 2 5vini poteti

e assai , e fa tanto bestiame che da pae-
sani e concluso nascierui 2 5piv latte che
uino ; questa e la ualle doue passa Adda,
la quale prima corre 2 ?piv che 40 miglia
per la Magnia ; questo fiume fa il pescie
temolo, il quale 28 vive d'argieto , del quale

se ne truova assai per la sua rena ; 29 J
questo paese ognivno puo vedere pane .
e vino, e'l uino vale al piv uno soldo si\
boccale e la libra della uitella uno soldo,
e'l sale 10 dinari, e'l simile il burro, 3ed e
la loro libbra 30 ocie e 1'oua uno soldo la
soldata.

VALLEY OF INTROZZO.

This valley produces a great quantity of
firs, pines and larches; and from here Am-
brogio Fereri has his timber brought down;
at the head of the Valtellina are the moun-
tains of Bormio, terrible and always covered
with snow; marmots (?) are found there.

BELLAGGIO.

Opposite the castle Bellaggio there is
the river Latte, which falls from a height of
more than 100 braccia from the source whence
it springs, perpendicularly, into the lake with
an inconceivable roar and noise. This spring
flows only in August and September.

VALTELLINA.

Valtellina, as it is called, is a valley
enclosed in high and terrible mountains; it
produces much strong wine, and there is so
much cattle that the natives conclude that
more milk than wine grows there. This is the
valley through which the Adda passes, which
first runs more than 40 miles through Ger-
many; this river breeds the fish temolo which
live on silver, of which much is to be found
in its sands. In this country every one can
sell bread and wine, and the wine is worth
at most one soldo the bottle and a pound
of veal one soldo, and salt ten dinari and
butter the same and their pound is 30 ounces,
and eggs are one soldo the lot.

C. A. 211(5;

1031.

A BORMIO.

2 A Bormio sono . i bagni ; sopraComo
otto miglia e la Pliniana, ^ la quale crescie
e discrescie ogni 6 ore, e'l suo cresciere fa
4 acqua per 2 mvlina e n'avanza, e'l suo
calare fa asciugare la fonte; 5 piu su 2
miglia e Nesso terra, dove cade uno fiume
co grade 6 enpito per una gradissima fes-
sura di mote ; Queste gite so da 7 fare nel
mese di maggio; E i maggior sassi scoperti
che si truovano 8 in questi paesi sono le
motagnie di Madello, vicine alle motagnie
di ^Lecco e di Gravidona inverso Bellin-

AT BORMIO.

At Bormio are the baths; About eight miles
above Como is the Pliniana, which increases
and ebbs every six hours, and its swell
supplies water for two mills; and its ebbing
makes the spring dry up; two miles
higher up there is Nesso, a place where a
river falls with great violence into a vast
rift in the mountain. These excursions are
to be made in the month of May. And
the largest bare rocks that are to be found
in this part of the country are the mountains
of Mandello near to those of Lecco, and

nascie. 19. abbcllagio. 20 arischontro abbellagio . chastcllo . . fiume lacci"o" el. 21. nasscic a piobo ne gallo cho ini-
stimabile strepido. 32. erromore. 23. valtolina. 24. chome . . circhudata . . etteribili. 25. vni . . eflfa . . besstiame . .
paessani . . nasscicr ui. 26. ella . . ada . . chore. 27. pesscio temere it. 29. po . . i soldo, jo. bochale ella . . ! soldo
ell . . burlo. 31. Ibra . . elloua.

1031. abormi. 2. abormi . . ella priniana. 3. cresscie e disseresscie ogni . . cresscicrc. 4. assciugare. 5. piussu . . tera . .
! fin ne cho. 7. del . . magio . . magior . . schoperti chessi truovno. 8. visine. 9. leche e di gravidonia . . mglia allecho

1032. I033-]

ITALY.

239

zona, a 30 miglia da Lecco, I0 e quelle di
ualle di Chiavenna -, ma la maggiore e
quella di Madello, "la quale-a nella sua
basa vna buca diuerso il lago, la quale va
sotto I2 2OO scalini-, e qui d'ogni tepo e
ghiaccio e veto.

IN VALSASINA.

**! Valsasina infra Vimognio et In-
trobbio , a man destra entrado per uia di
I5 Lecco, si trova la Troggia fiume-, che cade
da uno sasso altissimo e cadedo entra
16 sotto terra e 11 finisce il fiume ; 3
miglia -piv la si truovano li edifiti ^della-
vena del rame e dello argeto , presso a
una terra detta Prato Santo Piet.ro, l8 e
vene di ferro, e cose fantastiche ; la Grignia
e piv alta motagnia ch'abbino ^questi
paesi ed e pelata.

of Gravidona towards Bellinzona, 30 miles
from Lecco, and those of the valley of
Chiavenna; but the greatest of all is that of
Mandello, which has at its base an opening
towards the lake, which goes down 200 steps,
and there at all times is ice and wind.

IN VAL SASINA.

In Val Sasina, between Vimognio and
Introbbio, to the right hand, going in by
the road to Lecco, is the river Troggia
which falls from a very high rock, and as
it falls it goes underground and the river
ends there. 3 miles farther we find the
buildings of the mines of copper and silver
near a place called Pra' Santo Pietro, and
mines of iron and curious things. La Grigna
is the highest mountain there is in this part,
and it is quite bare.

C. A. 2700:; 821 a]

1032.

II lago di Pusiano 2 versa in nel lago
3 di Segrino e d'Annone e di Sala; 5 I1
lago d'Anone ha 22 braccia piu alta la
pelle 6 della sua acqua che la pelle del-
1'acqua ? del lago di Lecco, e 20 braccia
e piu alto 8 il lago di Pusiano che'l lago
d'Anone, 9le quali, giute colle braccia 22
dette, fan braccia 42, I0 e quest e la mag-
giore altezza che abbia la penile del lago
di Pusiano sopra la pelle del la I2 go di
Lecco.

The lake of Pusiano flows into the lake
of Segrino [3] and of Annone and of Sala.
The lake of Annone is 2 2 braccia higher at
the surface of its water than the surface of
the water of the lake of Lecco, and the lake
of Pusiano is 20 braccia higher than the
lake of Annone, which added to the afore
said 22 braccia make 42 braccia and this is
the greatest height of the surface of the
lake of Pusiano' above the surface of the
lake of Lecco.

1033-

A Santa Maria nella valle 2 di Rava-
gnate, ne' moti Briatia so le pertiche ^di
castagne di 9 braccia e di 14 Pu 2 no
in 100.

s A Varallo di Ponbia presso a Sesto

At Santa Maria in the Valley ofRavagnate
in the mountains of Brianza are the rods of
chestnuts of 9 braccia and one out of an
average of 100 will be 14 braccia.

At Varallo di Ponbia near to Sesto on

6 sopra Tesino sono li cotogni biachi gra- the Ticino the quinces are white, large
7 di e duri. and hard.

1033.

1033-

o. ecquelle . . edavenna malla magiore ecquella. u. busa. 12. schalini . . diaggio. 14. ualsasina ifra . . desstra.
5. leccho . . trosa . . chade . . da i . . chadedo. 16. elli finissce . . pivlla si truova. 17. arzeto . . prascto petro.
8. fero . . chabbi. 19. edie.

. ilago di pusia. 2. inel lagho. 3. di serio e dano. 5. lagho dano . . br . . alto. 6. chella. 7. lagho . . br. eppiu.
. he il lagho. 8. pusta . . dano br. 20. 9. gute . . br. 22 . . br. 42. 10. ecqueste la magore alteza . . la pel . . Pusia.
2. gho di lecho.

. maria\\\\o nella. 2. di ranvagna .. briatia. 3. 9 br. e di 14 [et] 7 (?) lu. 4. re (? no) in 100 di 9 br. 5. a voral di pon-
bio presso assesto. 6. licatini. 7. edduri.

1032. This text has in the original a slight 1033. 2. Ravagnate (Leonardo writes Ravagna)

sketch to illustrate it. 3. The statement about the in the Brianza is between Oggiono and Brivio,

lake Segrino is incorrect; it is situated in the South of the lake of Como. M. Ravaisson

Valle Assina, above the lake of Pusiano. avails himself of this note to prove his hypothesis

240

TOPOGRAPHICAL NOTES.

[10341039.

1034-

Ownl

Italy, visited

10^1501
(10341054)

Colobaia a Urbino a dl 30 2 di luglio Pigeon-house at Urbino, the 30 th day

t: 1502. of July 1502.

1035-

Fatta al mare di Pio-
bino.

Made by the sea at
Piombino.

L. 10 1\

Acquapendente e a Oruieto.

1036.

Acquapendente is near Orvieto.

L. 15 6]

Rocca di Cesena.

L. 19*]

1037.

1038.

The rock of Cesena.

Siena *a b braccia 3 4, *a c braccia 5 10; Siena, a b 4 braccia, a c 10 braccia.

6 Scale d' Urbino. Steps at [the castle of] Urbino.

33*1

1039.

Campana di Siena, cioe 2 il modo del
suo moto ^e sito della dinodatura '"< del
battaglio suo.

The bell of Siena, that is the manner of
its movement, and the place of the attachment
of the clapper.

1034. I. du vrbino. 2. luglio 1402.
1039. i. coe. 3. essito.

1035. Aquapendente.

1037. rocha.

1038. 2. l.r. 3. br.

that Leonardo paid two visits to France. See
Gazette des Beaux Arts, 1881 pag. 528:

Au recto du menu feuillet, on lit encore une note
relative a une vallie "nemonti brigatia" ; il me semble
qtfil fagit bien des monts de Brian f on, le Brigantio des
anciens. Brianfon est sur la route de Lyon en Italie.
Ce fut par le mont Visa que passer ent, en aout 1515,
les troupes franfaises qui aUaient remporter la victoire de
Marignan.

Leonard de Vinci, ingenuur de Franfois I er , comme
il Pavait ftf de Louis XII , aurait-il lie pour quelque
chose dans le plan du ctlebre passage des Alpes, qui eut
lieu en aout 1515, et a la suite duquel on le vit
aceompaipter partout le ck^valeresque vainqueur ? Aurait-
il M appele par le jeune roi, de Rome oit r artiste ttait
alors, des son avcncment au trone?

5. Varallo di Ponbia, about ten miles South of
Arona is distinct from Varallo the chief town in the
Val di Sesia.

1034. An indistinct sketch is introduced with
this text, in the original, in which the word
Scolatoro (conduit) is written.

1035. Below the sketch there are eleven lines
of text referring to the motion of waves.

1036. Acquapendente is about lo miles West of
Orvieto, and is to the right in the map on PI. CXIII,
near the lake of Bolsena.

1037. See PL XCIV No. I , the lower sketch.
The explanation of the upper sketch is given on p. 29.

1038. See PI. CX No. 3 ; compare also No. 765.

1039. The text is accompanied by an indistinct
sketch.

Du^ard

' \ 4*

v i f .v '..,- :/; .'

' .: ;

-'/-

>r-

h - .\t. :::

i :...:

I , :- ; .. v x

V." ' ,

, .. - .

-',

Imp . Eudes

Heli

L. CXI1

1040 1046.] ITALY. 241

L. 36*] I0 40-

El dl di Sata Maria mezz'agosto 2 a On St. Mary's day in the middle of August,

Cesena 1502. at Cesena, 1502.

L. 40 ]

Scale del cote d'Urbino, saluatiche. Stairs of the [palace of the] Count of

Urbino, rough.

L. 46^] 1042.

Alia fiera di Sco 2 Lorenzo a Cesena, At the fair of San Lorenzo at Cesena.

31502. 1502.

L 47*] I043-

. Finestre da Cesena. Windows at Cesena.

L. 666} IO 44-

Porto Cesenatico a di 6 di set 2 tenbre At Porto Cesenatico, on the 6 th of Sep-

1502, a ore 15; tember 1502 at 9 o'clock a. m.

3 In che modo debbono ^iiscire bastioni The way in which bastions ought to

fori delle smura delle terre per potere project beyond the walls of the towers to

6 difendere 1'argini di fori, 7 acio no sieno defend the outer talus; so that they may not

battuti coll' artiglieria. be taken by artillery.

L. 6 7 a] 1045.

La rocca del porto di Cesena sta a The rock of the harbour of Cesena is four

Ce 2 sena per la 4 a di libeccio. points towards the South West from Cesena.

L. 72 a] 1046.

In Romagnia, capo d'ogni grossezza In Romagna, the realm of all stupidity,

2 d'ingegno, vsano i carri di 4 rote, de qua- vehicles with four wheels are used, of which

3 li O n'ario 2 dinanzi basse e due alte O tne two m front are small and two high

l dirieto, la qual cosa e in gran disSfauore ones are behind; an arrangement which is

di moto, perche in sulle 6 rote dinanzi si very unfavourable to the motion, because

scarica piv peso, che 7 in su quelle dirieto, on the fore wheels more weight is laid than

come mostrai 8 nella prima del 5 delli on those behind, as I showed in the first of

elemeti. the 5 th on "Elements".

1040. i. mezagossto. 2. [4] 502. 1044. 4. vsscire basstioni . . delle.

1045. i. rocha. 2. pla . . libecco. 1046. i. grosseza. 2. rote equa. 7. mostai.

1040. See PI. CX, No. 4. 1043. There are four more lines of text which

1041. The text is accompanied by a slight refer to a slightly sketched diagram.

sketch. 10441 An indistinct sketch, accompanies this

passage.
VOL. ii. HH

242

TOPOGRAPHICAL NOTES.

[10471050.

L. 77

Uve portate 2 a Ciesena;
3 II numero de' cavatori
piramidale.

1047.

Thus grapes are carried at Cesena.

de' fossi e The number of the diggers of the ditches

is [arranged] pyramidically.

i.. 760}

1048.

UFassi vn armonia colle diuerse cadute
M'acqua, come vedesti alia fonte di
3 Rimini; come vedesti a dl 8 d'agosto

41502.1

There might be a harmony of the different
falls of water as you saw them at the
fountain of Rimini on the 8 th day of Au-
gust, 1502.

1049.

Fortezza d'Urbino.

The fortress at Urbino.

L. 884]

1050.

Imola vede Bologna a s/s di ponente
inverse 2 maestro con ispatio di 20 mi-
glia;

^Castel san Piero e ueduto da Imola
in J /2 4 infra ponente e maestro con ispatio
di 57 miglia;

6 Faenza sta con Imola tra leuate e
scirocco ? in mezzo giusto a 10 miglia di
spatio; 8 Forll sta co Faenza infra scirocco
e leva^te in mezzo giusto con ispatio di 25
miglia I0 da Imola e 10 da Faeza;

1 ' Forlimpopoli fa il simile a 25 mi 12 glia
da Imola;

'^Bertinoro sta con Imola a s
leva^te e scirocco a 27 miglia.

Imola, as regards Bologna, is five points
from the West, towards the North West,
at a distance of 20 miles.

Castel San Piero is seen from Imola at
four points from the West towards the North
West, at a distance of 7 miles.

Faenza stands with regard to Imola be-
tween East and South East at a distance of
ten miles. Forli stands with regard to Faenza
between South East and East at a distance of
20 miles from Imola and ten from Faenza.

Forlimpopoli lies in the same direction
at 25 miles from Imola.

Bertinoro, as regards Imola, is five points
from the East towards the South East, at 27 miles.

1047. i. vue. 1048. i. chadute. 3. addi. 1049. forteza.

1050. i. invcr. 2. macsstro conisspatio . . migla. 4. maesstro. 6. facnta '. . esscirocho. 7. mczo gussto . . disspatio. 8. furli
. . scirocho alletia. 9. mezo gussto. n. furinpopoli. 13. bertonora. 14. esscirocho.

1047. A sketch, representing a hook to which two bunches of grapes are hanging, refers to these
first two lines. Cesena is mentioned again Fol. 82 a: Carro da Cestna (a cart from Cesena).
1049. In the original the text is written inside the sketch in the place here marked n.

10511053.]

ITALY.

243

W. L. 229 a]

1051.

Imola uede Bologna a s/ 8 di po 2 nente
inuerso maestro con disstantia di miglia 20 ;

"> Castel San Piero e veduto da Imo 5 la
in mezzo infra ponente e mae 6 stro in di-
stantia di miglia 7.

7 Faenza e veduto da Imola infra leuante
8 e scirocco in mezzo apunto in distantia
9 di migla 10, e '1 simile fa Forli con Imo-
I0 la con distantia di miglia 20, e Forlimpo-
"poli fa il simile con Forli con distantia
di I2 miglia 25;

^Bertinoro si uede da Imola a 2 /s di
leuante ^inverso scirocco con distantia di
27 miglia.

Imola as regards Bologna is five points
from the West towards the North West at a di-
stance of 20 miles.

Castel San Pietro lies exactly North West
of Imola, at a distance of 7 miles.

Faenza, as regards Imola lies exactly
half way between the East and South East at
a distance of 10 miles; and Forli lies in the
same direction from Imola at a distance of
20 miles; and Forlimpopolo lies in the same
direction from Forli at a distance of 25 miles.

Bertinoro is seen from Imola two points
from the East towards the South East at a
distance of 27 miles.

L. 94 6\

1052.

Da B6con 2 vento alia 3 Casa Nova 4 mi-
glia TO, sdalla Casa No 6 va a Chiusi 7 miglia
9 , 8 da Chiusi a Pe9rugia, da Peru I0 gia a
Santa "Maria degli I2 Angeli, e poi '3 a from Chiusi to Perugia, from Perugia to Santa

From Bonconventi to Casa Nova are
10 miles, from Casa Nova to Chiusi 9 miles,

Fuligno.

Maria degli Angeli, and then to Fuligno.

1053-

DI primo d'agosto 1502 2 in Pesaro la
libreria.

On the first of August 1502, the library
at Pesaro.

1051. written from left to right, i. blogna. 2. inuer maesstro con dis. 4. Chastel. 5. mezo . . emaes. 6. indisstantia . . migla

7. veduta. 7. esscirrocho in mezo appunto in disstantia. 9. furli. 10. chon disstantia di migla . . furlinpo. n. furli .
disstantia. 12. migla. 13. Bernotoro. 14. inver scilocho . . disstantia . . migla.

1052. i. bochon. 8. aper. 10. assanta.

1053. * di p"o".

1051. Leonardo inserted this passage on the
margin of the circular plan, in water colour, of
Imola see PI. CXI No. I. In the original the
fields surrounding the town are light green; the
moat, which surrounds the fortifications and the
windings of the river Santerno, are light blue. The
parts, which have come out blackish close to the
river are yellow ochre in the original. The dark
groups of houses inside the town are red. At the
four points of the compass drawn in the middle
of the town Leonardo has written (from right to
left): Mezzodi (South) at the top; to the left Scirocho
(South east), levante (East), Greco (North East), Septan-
trione (North), Maesstro (North West), ponente (West)
Libecco (South West). The arch in which the plan
is drawn is, in the original, 42 centimetres across.

At the beginning of October 1502 Cesare Borgia
was shut up in Imola by a sudden revolt of the
Condottieri, and it was some weeks before he could
release himself from this state of siege (see Grego-
rovius , Geschichte der Stadt Rom im Mittelalter,
Vol. VII, Book XIII, 5, 5).

Besides this incident Imola plays no important
part in the history of the time. I therefore think
myself fully justified in connecting this map, which
is at Windsor, with the siege of 1502 and with
Leonardo's engagements in the service of Cesare
Borgia, because a comparison of these texts, Nos.
1050 and 1051, raise, I believe, the hypothesis to
a certainty.

1052. Most of the places here described lie
within the district shown in the maps on PI. CXIII.

244

TOPOGRAPHICAL NOTES.

1055.

I054-

PlCTURA.

OF PAINTING.

'Scorta sulle sommita e in su' lati 'de' On the tops and sides of hills foreshorten

colli le figure de' terreni e le sue <diuisi- the shape of the ground and its divisions,

oni, e nelle cose uolte a te sfa le in pro- but give its proper shape to what is turned
pia forma. towards you.

Leic.

1055-

In Candia di Lonbardia presso Ales-
sandria della Paglia, facendosi per 2 messer
[ Gualtieri di Candia vno pozzo, fu trovato
vno principio di navilio grandissimo sotto
terra, circa a braccia 10, e perche 3il leg-
name era nero e bello, parue a esso messer
Gualtieri di fare allungare tal bocca di pozzo
in forma che i termini *di tal navilio si
scoprissino.

At Candia in Lombardy, near Alessandria
della Paglia, in making a well for Messer
Gualtieri of Candia, the skeleton of a very
large boat was found about 10 braccia
underground; and as the timber was black
and fine, it seemed good to the said Messer
Gualtieri to have the mouth of the well
lengthened in such a way as that the ends
of the boat should be uncovered.

1054. 3. essere. 4. atte. 5. falle.

1055. 2. pozo . . circha a br. 3. ebbello . . meser . . bocha di pozo. 4. navili si scoprissi.

1054. This passage evidently refers to the
making of maps, such as PL CXII, CXIII, and
CXIV. There is no mention of such works, it is
true, excepting in this one passage of MS. L. But
this can scarcely be taken as evidence against
my view that Leonardo busied himself very exten-
sively at that time in the construction of maps;
and all the less since the foregoing chapters
clearly prove that at a time so full of events Leo-
nardo would only now and then commit his obser-
vations to paper, in the MS. L.

By the side of this text we find, in the original,
a very indistinct sketch, perhaps a plan of a posi-
tion. Instead of this drawing I have here inser-
ted a much clearer sketch of a position from the
same MS., L. 82 b and 83 a. They are the only
drawings of landscape , it may be noted , which
occur at all in that MS.

1055. 2. Messer Gualtitri, the same probably as is
mentioned in Nos. 672 and 1344.

10561059.]

ITALY.

245

Leic. iot>\

1056.

Alessandria della Paglia in Lombardia
non a altre pietre 2 da far calcina, se no
miste con infinite cose nate in mare, la

At Alessandria della Paglia in Lombardy
there are no stones for making lime of, but
such as are mixed up with an infinite variety

quale oggi e remota dal mare piv di 2OO of things native tp the sea, which is now

miglia.

more than 200 miles away.

I057-

Monbracco, sopra Saluzzo, 2 sopra la
Certosa vn miglo, al pie di mo Viso,
3 a vna miniera di pietra ^faldata, la quale
e biaca Scome marmo di Carrara, sanza
6 macvle, ch'e della durez?za del porfido o
piu; 8 della quale il conpare 9mio, maestro
Benedet 10 to scultore, a in pro lj messo di
darmene una I2 tavoletta per li colori, J 3a
dl 2 di genaro 1511.

At Monbracco , above Saluzzo, a mile The Alps
above the Certosa, at the foot of Monte (I 57 ~ I
Viso, there is a quarry of flakey stone,
which is as white as Carrara marble, without
a spot, and as hard as porphyry or even
harder; of which my worthy gossip, Master
Benedetto the sculptor, has promised to give
me a small slab, for the colours, the second
day of January 1511.

Leic. ni\ 1058.

Come son uene che per terremoti o
altri accidenti subito nasco 2 no e subito
macano ; E questo accade in vna motagnia
in Sauoia, doue certi boschi sprofondarono
e lasciarono vno 3 baratro profondissimo
e lontano circa 4 miglia di 11 s'aperse il
terreno in certa spiaggia di mote, e gitto
vna 4 subita inodatione grossissima d'acqua,
la quale netto tutta vna vallata di terreni
lauorativi, vignie e case, e fece sgradissimo
danno ovunque discorse.

That there are springs which suddenly
break forth in earthquakes or other convul-
sions and suddenly fail; and this happened
in a mountain in Savoy where certain forests
sank in and left a very deep gap, and about
four miles from here the earth opened itself
like a gulf in the mountain, and threw out
a sudden and immense flood of water which
scoured the whole of a little valley of the
tilled soil, vineyards and houses, and did
the greatest mischief, wherever it overflowed.

C. A. 86 6; 250,$]

1059.

Riuiera d' Arua presso a Ginevra ; 2 J / 4 di
miglio in Sauoia , doue si fa la fiera 3 in
San Giovanni nel uillaggio di san Gervagio.

The river Arve, a quarter of a mile from
Geneva in Savoy, where the fair is held on
midsummerday in the village 'of Saint Gervais.

1056. Alesandria . . illonbardia. 2. mista . . il quale.

1057. Lines i, 3 13 R. i. monbracho . . saluzo, 2. a pie . . uiso. 4. biacha. 5. carra"ra"sa. 6. machvle . . dure. 7. obpiu.
8. delle quali. 9. maesstro benedec. n. messo con darmene.

1058. i. nasca. 2. essubito . . Ecquesto acade nvna . . bosci profondorono ellasciorono. 3. baladro . . circha . . spiagga.
4. tere . . effece. 5. ovunche.

1059. 2 ' miglo. 3. batte in san govanni . . uilago . . cervagio.

1057. Saluzzo at the foot of the Alps South of
Turin.

9. 10. Maestro Benedetto scultore; probably some
native of Northern Italy acquainted with the place here
described. Hardly the Florentine sculptor Benedetto
da Majano. Amoretti had published this passage,
and M. Ravaisson who .gave a French translation
of it in the Gazette des Beaux Arts (1881, pag. 528),
remarks as follows : Le maitre sculpteur que Leonard
appelle son "comparf ne serait-il pas Benedetto da
Majano, un de ceux qui jugerent avec lui de la place a
donner au David de Michel-Ange, et de qui le Louvre a
acquis recemment un buste d'apres Philippe Strozzi?

To this it may be objected that Benedetto da
Majano had already lain in his grave fourteen
years, in the year 1511, when he is supposed to
have given the promise to Leonardo. The colours
may have been given to the sculptor Benedetto and
the stone may have been in payment for them.
From the description of the stone here given we
may conclude that it is repeated from hearsay of
the. sculptor's account of it. I do not understand
how, from this observation, it is possible to conclude
that Leonardo was on the spot.

1059. An indistinct sketch is to be seen by
the text.

246

TOPOGRAPHICAL NOTES.

[I060I062.

Lc.

io6o.

E questo vedra come vid'io, chi adra
so pra Moboso, giogo delPAlpi che diuidono
la Francia dalla Italia, la qual montagnia
a la sua basa che parturisce 'li 4 fiumi
che riga per 4 aspetti contnri tutta 1' Europa,
e nessuna montagnia a le sue base in si-
mile ahtezza ; questa si leua in tanta altura
che quasi passa tutti li nuvoli e rare volte
vi cade neve, ma sol gradi s ne d'istate
quando li nvvoli sono nella maggiore al-
tezza, e questa grandine vi si coserua in
modo, che se no 6 fusse la reth. del caderui
c del montarui nvuoli, che non accade 2
volte in vna eta, egli ui sarebbe altissima
quatita di ghiaccio inalzato dali gradi della
gradine, il qua?le di mezzo luglio vi trouai
grossissimo -, e vidi 1' aria sopra di me tene-
brosa e '1 sole che percotea la mota 8 gnia
essere piv luminoso quiui assai che nelle
basse pianure, perche minor grossezza d' aria
s'interpone in'Tra la cima d'esso monte
e '1 sole.

And this may be seen, as I saw it, by
any one going up [5] Monbroso, a peak of
the Alps which divide France from Italy.
The base of this mountain gives birth to the
4 rivers which flow in four different directions
through the whole of Europe. And no
mountain has its base at so great a height
as this, which lifts itself above almost all the
clouds; and snow seldom falls there, but
only hail in the summer, when the clouds
are highest. And this hail lies [unmeltedj
there, so that if it were not for the absorp-
tion of the rising and falling clouds, which
does not happen more than twice in an age, an
enormous mass of ice would be piled up there
by the layers of hail, and in the middle of July
I found it very considerable; and I saw the
sky above me quite dark, and the sun as it
fell on the mountain was far brighter here
than in the plains below, because a smaller
extent of atmosphere lay between the summit
of the mountain and the sun.

Leic.

1061.

Truovasi nelle montagnie di Verona la
sua pietra rossa mista tutta di nichi con-
vertiti 2 in essa pietra , dalli quali, per la
loro bocca, era gommata la materia d'essa
pietra, ed erano in alcuna parte restati
separati dalPaltra massa del sasso che
li circundava; perche la scorza del nichio
s'era interposta, e no li auea -Uasciati
congiugniere; E in alcun altra parte tal
gomma auea petrificate le invecchiate e
quasi la scorza.

In the mountains of Verona the red marble
is found all mixed with cockle shells turned
into stone; some of them have been filled
at the mouth with the cement which is the
substance of the stone; and in some parts
they have remained separate from the mass
of the rock which enclosed them, because
the outer covering of the shell had inter-
posed and had not allowed them to unite
with it; while in other places this cement had
petrified those which were old and almost strip-
ped the outer skin.

C. A. 231*; 6960]

Ponte di Goritia 2 Vilpago.

1062.

Bridge of Goertz Wilbach (?).

1060. i. ecqiicsto. a. gogo . . diuitano la franca . . alia . . parturissce. 3. alle. 4. nvuoli . . chade. 5. magorc . . ecquesta
. . Imodo chesse. 6. fussi "la reta del caderui e del montarui nvuoli" che non achade [del sj . . eta e. 7. mezo . .
grossimo . . tenenebrosa ellsole. 8. luminosi . . grosseza.

1061. 2. delli . . era gornata . . edera. 3. masa . . chelli circhundava . . lasscorza. 4. lassciati congugniere . . goma . . pe-
trilicata le invegiate e quasi scorzo.

1062. vilpagho.

1060. I have vainly enquired of every available
authority for a solution of the mystery as to what
mountain is intended by the name Mom boso (Comp.
Vol. I Nos. 300 and 301). It seems most obvious
to refer it to Monte Rosa. Rosa is derived from the
Keltic ros which survives in Breton and in Gaelic,
meaning, in its first sense, a mountain spur, but which
also like Horn means a very high peak ; thus
Monte Rosa would 'mean" literally the High Peak.

6. in una eta. This is perhaps a slip of the pen
on Leonardo's part and should be read estate (summer).
1062. There is a slight sketch with this text,
Leonardo seems to have intended to suggest, with
a few pen-strokes, the course of the Isonzo and
of the Wipbach in the vicinity of Gorizia (Goerz).
He himself says in another place that he had been
in Friuli (see No. 1077 1. 19).

1063 1065.]

ITALY.

247

Leic.

1063.

il Reno a tramo-

Danoia a greco,

Invmerabili fiumi

Quella parte della terra s'e piv alienata
dal centre 2 del modo, la qual s' e fatta piv
lieve-;E quella parte della terra s'e fatta
piv lieve, per la quale ^e passato maggior
concorso d' acque, E si e aduque fatta piv
lieue quella parte, donde scoria piv numero
di fiumi, come 1' alpi, che diuidono la Magnia
e la Francia dalla Italia, delle quali s e scie
il Rodano a mezzodl, e
tana , jl Danubio over
e '1 Po a Ieua 6 te con
che con loro s'accopagnano, i quali senpre
corrono torbidi, dalla terra ^ da loro portata,
al mare;

Mouosi al continvo i liti marittimi inverse
il mezzo del mare e lo 8 scaccia dal suo
primo sito; Riseruerassi la piv bassa parte
del Mediterrano per letto e cor^so del Nilo,
fiume massimo, che versa in esso mare, E
con lui s' accompagnieranno tutti li fiumi sua
I0 adereti, che prima in esso mare le loro
acque versar soleano, come far si uede al
Po colli adereti "sua, li quali prima ver-
saua nel mare che infra 1' Appennino e le
Germaniche alpi si era vnito I2 col Mare
Adriatico ;

Come le alpi galliche son la piv alta
parte delP Evropa.

runs
(10631068).

That part of the earth which was lightest The A PP C
remained farthest from the centre of the
world; and that part of the earth became
the lightest over which the greatest quantity
of water flowed. And therefore that part
became lightest where the greatest number
of rivers flow; like the Alps which divide
Germany and France from Italy; whence
issue the Rhone flowing Southwards, and
the Rhine to the North. The Danube or Ta-
noia towards the North East, and the Po to
the East, with innumerable rivers which join
them, and which always run turbid with the
soil carried by them to the sea.

The shores of the sea are constantly
moving towards the middle of the sea and
displace it from its original position. The
lowest portion of the Mediterranean will be
reserved for the bed and current of the Nile,
the largest river that flows into that sea.
And with it are grouped all its tribu-
taries, which at first fell into the sea; as may
be seen with the Po and its tributaries, which
first fell into that sea, which between the
Appenines and the German Alps was united
to the Adriatic sea.

That the Gallic Alps are the highest part
of Europe.

1064.

E di questi 6 ri 2 trovato nelli 3 sassi del-

P alto * Appenino e
della Verona.

5 massime nel 6 sasso

And of these I found some in the rocks
of the high Appenines and mostly at the
rock of La Vernia.

E. 80 a]

A Parma alia
tebre 1514.

1065.

Capana a dl 25 ^di set-

At Parma , at ( La Campana'
twenty-fifth of October 1514.

on the

1063. 2. lequella . . seffatta. 3. magor choncorso . . Essi aduque. 4. diuidano . . ella franca . . della qual. 5. attramotana
. . danubbio . . tanoia a grecho . . alleu. 6. chon . . cholloro sacopagniano . . corra. 7. dallo portata . . movasi . .
mezo . . ello. 8. scacca del . . mediterano. 9. ineso . . sachonpagniera. 10. solano . . colli adere. n. apenino
elle . '. serava. 12. chol . . adriaticho . . le alpe le . . pivolta.

1064. i. quessti. 2. trovati. 7. nia.

1064. 6. Sasso della Vernia. The frowning rock
between the sources of the Arno and the Tiber, as
Dante describes this mountain, which is 1269 metres
in height.

This note is written by the side of that given

as No. 1020; but their connection does not make
it clear what Leonardo's purpose was in writing it.

1065. 2. Capana, an Inn.

A note on the petrifactions, or fossils near Parma
will be found under No. 989.

2 4 8

TOPOGRAPHICAL NOTES.

[I066I068.

C. A. IJ7S 4'4)

Modo di seccare il padule 2 di Pion-
bino.

1066.

A method for drying the marsh of
Piombino.

K.I ta\

1067.

Fanno li pastori 2 in quel di Roma^gnia
nelle radici < dell' Appenino certe sgrancon-
cauita ne 6 ! monte a uso di cor?no e da
parte commeftono vn corno, e q c 'uello
piccol corno di I0 ueta vn mcdesimo col"la

The shepherds in the Romagna at the
foot of the Apennines make peculiar large
cavities in the mountains in the form of
a horn, and on one side they fasten a horn.
This little horn becomes one and the same

gia fatta concauita, 6 I2 de fa gradissimo with the said cavity and thus they produce

suono.

by blowing into it a very loud noise.

Leic. 31 f>\

1068.

Vedesi vna vena surgere in Sicilia, la
'quale a certi tenpi dell' anno versa foglie
di castagno in moltitudine, e in Sicilia no
na^scono castagnie, e aduque necessario
che tal uena esca d'alcu pelago dell' Italia
e vada poi sotto il mare e sbocchi poi in
Sicilia.

A spring may be seen to rise in Sicily
which at certain times of the year throws
out chesnut leaves in quantities; but in
Sicily chesnuts do not grow, hence it is
evident that that s'pring must issue from some
abyss in Italy and then flow beneath the sea
to break forth in Sicily.

1066. i. sechare.

1067. 3. radice. 4. apenino. 5. chonchauita. 7. pare come. 8. tano vn chorno ecq. 9. pichol. 10. chol. n. ga. 12. sono.

1068. i. cicilia. 2. accerti . . ano. 3. chasstagno . . moltitudile 3. scie chastagnie . . chettal esscha dalchu pellagho.
4. dia poi essbochi . . cicilia.

1066. There is a slight sketch with this text

in the original. Piombino is also mentioned in

Nos. 609, 1. 5558 (compare PI. XXXV, 3, below).
Also in No. 1035.

1067. As to the Romagna see also No. 1046.

1046. The chesnut tree is very common in Si-
cily. In writing cicilia Leonardo meant perhaps
Cilicia.

'in r<f ^f- f, W/

Si ,2g*-

'2+^1^ r-* ~ r*^ 'I flfc-~ ~, Twr^/T" 7 T < fr<

.jY^iMgL -*'

-~- ?*t&'?i7^ r^'Ljr v
^r^^^^Cv

te^

S^"

otg^r^'i

:^^3
r :4j^Bp&
1^5
$W$^

ft
m

PI. . CXIY.

II.

FRANCE.

C. A. 353^; nosJ]

ALEMAGNIA.

2 a. Austria,
3b. Sassonia,
4 c. Norimberga,
. Fiandra;

1069.

FRANCIA.

a. Picardia,

b. Normandia,

c. Delfmato;
d.

SPAGNIA.

7 a. Biscaglia,
8 b. Castiglia,
9 c. Galitia,
10 d. Portogallo,
"e. Tarragona,
I2 f. Granada.

GERMANY.

a. Austria.

b. Saxony.

c. Nuremberg.

d. Flanders.

FRANCE.

a. Picardy.

b. Normandy.

c. Dauphine.

SPAIN.

a. Biscay.

b. Castille.

c. Galicia.

d. Portugal.

e. Taragona.

f. Granada.

C. A. 358,*; 1124^]

IO7O.

Perpigniana ;
2 Roana,

3 Lione,

4 Parigi,

5 Guato,
6 Brugia,
7 Olanda.

Perpignan.

Roanne.

Lyons.

Paris.

Ghent.

Bruges.

Holland.

1069. In the original the three columns are parallel. i. alamania franca spognia. 4. nolinberg dalfinato. 5. flandra.
7. bisscaglia. 8. casstiglia. n. taragona. 12. granata.

1070. 3. lione.

1069. Two slightly sketched maps, one of Europe (Rodumna) on the upper Loire, Lyonnais (Dep. du
the other of Spain, are at the side of these notes. Loire). This town is now unimportant, but in

1070. Roana does not seem to mean here Leonardo's time was still a place of some conse-
Rouen in Normandy , but is probably Roanne quence.

VOL. II. I I

250

TOPOGRAPHICAL NOTES.

1073.

Leic.

IO7I

Come in Bordea presso a Guascognia
alza il mare circa a 40 braccia pel suo
reflus'so, e '1 suo fiume ringorga 1'acque
salze piv di cento cinquata miglia, e li
nauili, che ^si debbono calafatare, restano

At Bordeaux in Gascony the sea rises
about 40 braccia before its ebb, and the
river there is filled with salt water for more
than a hundred and fifty miles; and the
vessels which are repaired there rest high

alti sopra vn alto collo sopra dello abassato and dry on a high hill above the sea at

mare.

low tide.

Leic.

1072.

El Rodano esce dal lago di Ginevra e
corre prima 2 a ponente, e poi a mezzodl,
con corso di 400 miglia, e versa le sue
acque nel mare mediterrano.

The Rhone issues from the lake of
Geneva and flows first to the West and then
to the South, with a course of 400 miles
and pours its waters into the Mediterranean.

K.3 too]

c ^/giardino di Bles ;
2 a b il codotto di
Bles, fatto I spracia
da Fra Giocodo, b c
& il 4 macameto dell' al-
tezza di tal cdsdotto,
c d e 1'altezza del
giar 6 dino di Bles , e f
i la caduta ?della c i~
cognola, b c, e /, / g
8 e dove tal cicognola
versa nel 9 fiume.

1073.

e c

c d is the garden at
Blois; a b is the con-
duit of Blois ,. made in
France by Fra Giocon-
do, b c is what is want-
ing in the height of
that conduit, c </is the
height of the garden at
Blois, <r/isthe siphon
of the conduit, b c , e
fy f S i j where the si-
phon discharges into the
river.

1071. i. guasscogna . . circha a 40 br . . refru. 2. elli. 3. deano . . chollo.
1073. i. essce del lagho. 2. mezodi . . mediterano.

1071. 2. This is obviously an exaggeration
founded on inaccurate information. Half of 150
miles would be nearer the mark.

1073. The tenor of this note (see lines 2 and 3)
seems to me to indicate that this passage was not
written in France, but was written from oral infor-
mation. We have no evidence as to when this
note may have been written beyond the circumstance
that Fra Giocondo the Veronese Architect left France
not before the year 1505. The greater part of the
magnificent Chateau of Blois has now disappeared.
Whether this note was made for a special purpose is
uncertain. The original form and extent of the
Chateau is shown in Androvet , Les plus excellent!
Bastimtnts de France, Paris MDCVII, and it may be
observed that there is in the middle of the
garden a Pavilion somewhat similar to that shown
on PL LXXXVIII No. 7.

See S. DE LA SAUSSAYE, Histoire du Chateau de Blois
edition Blois et Paris p. 175: En mariant sa

fille ainee a Frangois, comte d'Angouleme, Louis XII lui
avail constitut en dot les comtes de Blois, d'Asti, de Couey,
de Montfort, d'Etampes et de Vertus. Une ordonnance
de Francois I. lui laissa en 1516 I 'administration du
comte de Blois.

Le roi Jit commeticer, dans la meme annee, les travaux
de celte belle partie du chateau, conmte sous le nom
d'aile de Francois /, et dont nous avons donnl la
description au commencement de ce livre. Nous trouvons
en effet, dans les archives du Baron de Joursanvault,
une puce qui en fixe parfaitement la date. On y lit:
"Je, Baymon Philippeaux, commis par le Roy a tenir le
compte et fair le payement des bastiments, ediffices et
reparacions qne le dit seigneur fait fair e en son chastu
de Blois, confesse avoir eu et re(eu . . . la somme de
trots mille livres tournois .... le cinquieme jour de

juillel, Fan mil ring cent et seize. P. 24: Les jar dim
avaient ete decorls avec beaucoup de luxe par les different!

possesseurs du chateau. II ne reste de tous les batimenb
y eleverent que ceux des officiers cfiargis de Cad-

* .<*

S.S"o

PL CXV

*if^i A '<
pfrwp^. kffff,*!

*"*/fil fAAhi/i!W

*T ^

: v

!Ju;ai-dm

Imp Eudo

10/4- I075-]

FRANCE.

251

Br. M. 269^]

1074.

Loira fiume 2 d'Ambosa.

3 II fiume e piu 4 alto dentro a! 5 l'argine
b d che 6 fuori d'essa ar7gine;

8 Isola dove e ^vna parte I0 d'An-
buosa.

11 II fiume Loira che passa per Anbosa
passa per a b, c d, e poiche e passato il
pote, I2 ritorna contro al suo avenimento
per il canale d e, b f in contatto dell'argine
'5 che si interpone infra li due moti con-
trari del predetto fiume a b, c d, d e, b f;
T 4 di poi si riuolta in giii per il canale f /,
g h, n m, e si ricongiugnie col fiume dode
I5 prima si diuise, che passa per k n, che
fa k m, r t; ma quado il fiume e l6 grosso,
allora elli corre tutto per uno solo verso,
passado 1'argine b d.

The river Loire at Amboise.

The river is higher within the bank b d
than outside that bank.

The island where there is a part of
Amboise.

This is the river that passes through
Amboise ; it passes at a b c d, and when it
has passed the bridge it turns back, against
the original current, by the channel d e, b f
in contact with the bank which lies between
the two contrary currents of the said river,
a b, c d, and d e, b f. It then turns down
again by the channel f I, g h, n m, and
reunites with the river from which it was at first
separated, which passes by k n, which makes
k m, r t. But when the river is very full it flows
all in one channel passing over the bank b d.

Br. M. 269 <$]

1075-

L'acque sieno rin 2 gorgatesopra 3 il termine
di Ro^morontino in tasta altezza, ch'elle 6 fac-
cino poi nel 7 loro discieso molHe molina;

The water may be dammed up above
the level of Romorantin to such a height, that
in its fall it may be used for numerous mills.

1073. i. gardino. 4. alteza. 5. ellalteza del gar. 6. ella.

1074. i. Loera. 2. da[n]bosa. 3. gocodo. 3. eppiu. 8. fiume era che. 13. chessi . . infralli . . controri . . predecto. 14. ess
richongiugnie. 15. diuise [eppa] che . . cheffa.

1075. i. Lacqua sia rio. 2. ghorghata. 5. alteza. 7. : uo disscieso. 9. uilla, 10. francha. n. docto a romolo. 12. del

ministration et de ta culture des jar dins, et un pavilion
carre en pierre et en brique fianque de terr asses a chacun
de ses angles. Quoique defigure par des mesures clevees
sur les terrasses , cet edifice est tres-digne d'interet par
Poriginalile du plan, la decoration architectural et le
souvenir d'Anne de Bretagne qui le fit construire. Feli-
bien describes the garden as follows : Le jardin Jiaut
etait fort bien dresse par grands compartimens de toutes
sortes de figures, avec des allees de meuriers blancs et
des palissades de coudriers. Deux grands berceaux de
charpenterie separoient toute la longueur et la largeur du
jardin, et dans les quatres angles des allees, ou ces
berceaux se croissent, il y auoit 4 cabinets, de mesme
charpentene ... II y a pas longtemps qrfil y auoit dans
ce mesme jardin , a Fendroit ou se croissent les allees du
milieu, un edifice de figure octogone, de plus de 7 thoises
de diametre et de plus de neuf thoises de haut; avec 4
enfoncements en form? de niches dans les 4 angles des
allees. Ce bastiment .... estoit de charpente mais d'un
extraordinairement bien travaille. On y voyait parti-
culierement la cordiliere qui regnait tout autour en forme
de cordon. Car la Reyne affectait de la mettre non-
seulement a ses armes et a ses chiffres mais de la faire
representer en divers manures dans tous les ouvrages
qifon lui faisait pour elle . . . le bastiment estait convert
en forme de dome qui dans son milieu avait encore un
plus petit dome, ou lanterne vitree au-dessus de laquelle
estait une figure doree representant Saint Michel. Les

deux domes estoient proprement couvert d'ardoise et de
plomb dore par dehors; par dedans Us estoient lambrissez
d'une menuiserie tres delicate. Au milieu de ce Salon il
y avait un grand bassin octogone de marbre blanc, dont
toutes les faces estoient enrichies de differentes sculptures,
avec les armes et les chiffres du Roy Louis XII et de la
Reine Anne. Dans ce bassin il y en avait un autre
pose sur un piedestal lequel auoit sept piedz de diametre.
II estait de figure ronde a godrons , avec des masques et
(fai{tres ornements tres sgauamment taillez. Du milieu
de ce deuxiesme bassin s'y levoit un autre petit piedestal
qui portait un troisiesme bassin de trois pieds de diametre,
aussy parfaitement bien faille; c 1 estoit de ce dernier bassin
que jallissoit Veau qui se rependoit en suitte dans les
deux autres bassins. Les beaux ouvrages fails d^im
marbre esgalement blanc et poli, furent brisez par la
pesanteur de tout F edifice, que les injures de Pair renver-
serent de fond en comble.

1074. See PI. CXV. Lines I 7 are above, lines
8 10 in the middle of the large island and the
word Isola is written above d in the smaller island;
a is written on the margin on the bank of the river
above 1. I ; in the reproduction it is not visible.
As may be seen from the last sentence, the obser-
vation was made after long study of the river's
course, when Leonardo had resided for some time
at, or near, Amboise.

252

TOPOGRAPHICAL NOTES.

[1076. I07J

9 II fiume di Villa I0 franca sia co^dotto
a Romor6 12 tino, e sia fatto dal suo '3po-
polo, e li legni^ami, che conpo'Sgono le
lor case, l6 sie per barche co'Motte a Ro-
moro l8 tino; e '1 fiume ^sia ringorga 20 to in
tata altez 2I za, che 1'acqua "si possa co
co^modo discie 24 so riduciere 2S a Romo-
rotino.

The river at Ville Tranche may be con-
ducted to Romorantin which may be done by
the inhabitants; and the timber of which
their houses are built may be carried in
boats to Romorantin [ 1 8]. The river may
be dammed up at such a height that the
waters may be brought back to Romorantin
with a convenient fall.

Br. M.

1076.

S'elli e meglio che 1'acqua 2 vada tutta
in alto in una so^la volta, o veramete
in due?

Rispodesi che in vna sola volsta la
rota no potreb 6 be sostenere tutta 1'acqua
7ch'ella leua in due volte, per 8 che. nella
mezza volta della 9 rota leverebbe 100 libbre,
I0 e no piu, e s'ell' auesse a leua"re le
200 libbre la uolta inte I2 re, non le leverebbe,
se I3 tal rota no raddoppiasse il dia I4 metro,
e raddoppiando tal 'Sdiametro raddoppie-
reb l6 be il tenpo; aduque e meglio J 7e piu
comodita di spesa a fare l8 tal rota sub
2 a che 2 la ecc.

'9 II descieso del mozzo non s'ab-
20 bassa insino alia pelle dell'acqua, 2I per-
che toccado 1'acqua diminuireb 22 be il
peso suo.

23 E se per 1'aversario 24 s' ingrossasse il
2 sfugatore dell'ac 26 qua dieci tan 2 ?ti piu,
che la 28 canna dell' 2 9acqua fuggie"3te d'essi,
se li 3 1 dieci tanti 3 2 men moto 33 che a que-
sto, 34 che vfitio sareb^be il suo? Ri3 6 spo-
desi per la 37o, a di questo 3che dice, che
1'acqua 39 S ' a lzerebbe *la decima parte di
quel che prima s'alzava * T nell'altezza di
quella canna donde prima sur 42 gieua.

As to whether it is better that the water
should all be raised in a single turn or
in two?

The answer is that in one single turn the
wheel could not support all the water that it
can raise in two turns, because at the half turn
of the wheel it would be raising 100 pounds
and no more; and if it had to raise the whole,
200 pounds in one turn, it could not raise them
unless the wheel were of double the diameter
and if the diameter were doubled, the time of
its revolution would be doubled; therefore it
is better and a greater advantage in expense
to make such a wheel of half the size (?) &c.

The going down of the nave of the wheel
must not be so low as to touch the surface
of the water, because by touching the water
its momentum will be lessened.

And if on the contrary the conduit
for the water were ten times the size of
the pipe for the water escaping from it,
and if it had ten times less motion, what
would be its office ? This is answered by the
9 th of this which says that the water would
rise in the pipe whence it first flow, to a
tenth part of its original height.

Br. M. 270<5]

1077.

Se'l fiume m n, ramo del fiume Loira,
si manda nel 2 fiume di Romorontino colle
sua acque torbide, esso Pgrassera le can-

If the river m n, an affluant of the river
Loire, were turned with its muddy waters, into
the river [of Romorantin, this would fatten

13. elli. 14. conpo. 15. ghano. 17. aremolo. 19. ringhorgha. 21. chellacqua. 23. disscie. 25. romolotino.
107*. i. selli . . chellacq"a". 2. alto nuna. 4. nvna. 6. bono sosstcnere . . lacq"a". 7. chella. 8. meza. 10. essellauessi

allcua. 12. nolle leverebbe [se el] se. 13. raddopiassi. 14. mitro [e in] e. 15. [tempo] diamitro radoppiereb. 17. affare.

19. disscicso . . mozzo nossab. 20. acqu"a". 21. tochado lacqu"a". 23. Esse. 24. singrossassi. 25. fughatore. 27. chella.

28. channa della. 30. te dessi se li. 31. dieci tanta. 32. men moto. 33. che acque sto. 34. che vfitio sareb. 35. be il

suo Ris. 37. quessto. 38. chellacqua. 40. che p"a". 41. channa donde p"a" sue. 42. giena.
1077. i. fiume [era] Era | si. 2. romolontino . . torbite. 3. essesso. 5. eflara chanale navichabile e merchatile. n. Quella.

1075. 1 8. Compare No. 744.

1076. The topographical interest of this passage arises from the circumstance that it is written on
the reverse of the sheet on which we find the text relating to Romorantin, No. 1074.

1078.]

FRANCE.

253

pagnie sopra le quali esso adaque 4 ra, e
redera il paese fertile da nutrire li aSbi-
tatori, e fara "canale navicabile e mer-
catile.

6 Modo che'l fiume 7 col suo corso 8 netti
il fondo del 9 fiume.

IO Per la nona
del 3; T 'Quello
ch'e piu velo I2 cie,
piu cosuma il ^suo
fondo, e per la co-
^versa : 1'acqua ch' e
piu j starda piv la-
scia l6 di quel che
la intorbi^da;

18 E facciasi il serraglio mobile, che io
or J 9dinai nel Friuli, del quale, aperto vna
caterat 20 ta, 1'acqua che di quella vsciva
cavo il fondo; 2I addunque nelli diluui de'
fiumi si debbono aprire le cate 22 ratte de'mo-
lini, accioche tutto il corso del fiume si
renda per ca 23 teratta in ciascu molino; sieno

molte, accioche 2 4si faccia mag-

giore Ipeto, e cosl nettera tutto il fiume;
2 Se infra le due poste de' moli 26 ni sia vna
delle dette caterat 2 7te; sia vna d'esse poste
di tal cate 28 ratte infra 1'uno e Pal 29 tro
molino.

the land which it would water and would
render the country fertile to supply food
to the inhabitants, and would make navi-
gable canals for mercantile purposes.

The way in which the river in its flow
should scour its own channel.

By the ninth of the
third; the more rapid
it is, the more it wears
away its channel; and,
by the converse pro-
position, the slower
the water the more
it deposits that which
renders it turbid.

And let the sluice be movable like the one
I arranged in Friuli [i 9], where when one sluice
was opened the water which passed through
it dug out the bottom. Therefore when the
rivers are flooded, the sluices of the mills
ought to be opened in order that the whole
course of the river may pass through falls
to each mill; there should be many in order
to give a greater impetus, and so all the
river will be scoured. And below the site
of each of the two mills there may be one
of the said sluice falls; one of them may be
placed below each mill.

C. A. 329 6; 993 a]

1078.

Vno trabocco e quattro braccia e vno
miglio e tre mila d' esse braccia ; E '1 brac-
cio si diuide in 12 ocie; 2 e 1'acqua de'ca-
nali a di calo in ogni ceto trabocchi 2 delle
dette oncie; aduque 14 oncie $di calo son
neciessarie a due mila ottoceto braccia di
moto ne'detti canali; seguita che 15 oncie
*di calo danno debito moto alii corsi del-
1'acque dei predetti canali, cioe uno braccio
e T / 2 s per miglio ; E per questo cocluderemo
che 1'acqua che si toglie dal fiume di Villa

A trabocco is four braccia, and one mile
is three thousand of the said braccia. Each
braccio is divided into 12 inches; and the
water in the canals has a fall in every
hundred trabocchi of two of these inches;
therefore 14 inches of fall are necessary in
two thousand eight hundred braccia of
flow in these canals; it follows that 15
inches of fall give the required momentum
to the currents of the waters in the said
canals, that is one braccio and a half in the
mile. And from this it may be concluded
that the water taken from the river of Ville-

14. cheppiu. 15. lasscia. 16. chella. Lines 617 are written in the margin. 18. effaciasi. 19. nel frigholi del. 20. lacq-
"a"che . . vssciva cav"o". 21. si debbe apr \\\\\\\\\\\\\ . 22. ratte demolini . . del fiume si \\\\\\\\\\\\\\\ . 23. ciasscu . . .
accioche \\\\\\\\\\\\\ . 24. sapra effacci magiore . . tutto if \\\\\\\\\\\\ . 25. infralle . . posste. 27. posste. 28. rate molini in-
fralluna ellal. Lines 25 29 stand in the original above line 18.

1078. i. traboccho. 2. br. e I . . El br. [s] si . . ocie\\\\\\. 2. ellacqua . . addi chalo . . trabochi . . 14 o di. 3. di chalo . .
adumila . . br. di moto [de de] ne . . 15 o di. 4. di chalo . . corsi [de detti o] dell . . de . . cioe i br. 5. quessto

1077. 19. This passage reveals to us the fact that
Leonardo had visited the country of Friuli and that

he had stayed there for some time. Nothing
whatever was known of this previously.

254

TOPOGRAPHICAL NOTES

I079-]

FPANCE.

255

Franca e si 6 presta al fiume di Romoron-
tino vuole . . . Dove Pu fiume mediante la
sua bassezza no ?puo entrare nell'altro, e
neciessario ringorgarlo in tale altezza che
possa disciedere 8 in quel che prima era
piv alto.

9 1JVigilia di Sco Anto I0 nio tornai da
Romo^rotino in Abuosa, If I2 e '1 re si parti
due I3 dl innanti da Romoro^tino.

T sDa Romorontino insino al l6 pote a
Sodro | si chiama Soudro; ^e da esso pote
insino a Tours l8 si chiama Schier.

T 9parai saggio del 20 liuello di quel ca-
21 nale che si a a codur 22 re dalla Loira a
Romo 23 lontino con vn ca 24 nale largo vn
braccio e 2 5profondo vn braccio.

franche and lent to the river of Romorantin

will Where one river by reason of its

low level cannot flow into the other, it will
be necessary to dam it up, so that it may
acquire a fall into the other, which was
previously the higher.

The eve of Saint Antony I returned from
Romorantin to Amboise, and the King went
away two days before from Romorantin.

From Romorantin as far as the bridge at
Saudre it is called the Saudre, and from that
bridge as far as Tours it is called the Cher.

I would test the level of that channel
which is to lead from the Loire to Romo-
rantin, with a channel one braccio wide and
one braccio deep.

Br. M. 263 1]

1079.

STRADA D' ORLEANS.

2 Alia quarta di mezzodl verso scirocco ;
3 alia terza di mezzodl verso scirocco;
4 alia quarta di mezzodl verso scirocco;
5 alia quinta di mezzodi verso scirocco;
6 Tra libeccio e mezzodl; ?a leuante par-
ticipando di mezzodl; 8 tra mezzo giorno
verso leuante J /85 9 Da. poi verso ponente;
I0 tra mezzodl e libeccio; JI a mezzodl.

THE ROAD TO ORLEANS.

At T /4 from the South to the South East.
At */3 from the South to the South East.
At T / 4 from the South to the South East.
At x /s from the South to the South East.
Between the South West and South, to the East
bearing to the South; from the South towards
the East - J /8 ; thence to the West, between the
South and South West; at the South.

cocludereno chellacqua chessi . . francha essi. 6. pressta . . remolontino vole .... mediante [la ba] la sua.
7. ringhorgharlo . . alteza . . dissciedere \\\\\\\ . 12. el re [di fran] si. 13. innanti . Lines 1518 are written
from left to right. 15. Romorantino. 17. [po] e da. 20. cha. 21. chessa a chodur. 22. rre dalliraa remo. 23. cha.
24. largho vn br. 25. vn br.

1079. written from left to right: i. dorleons. 2. de mezo syroccho. 3. de mezo . . syroccho. 4. mezo . . syrocco. 5. mezo
. . syrocco. 6. lybeccio e mezodi. 6. mezo. 7. mezo. 8. ponte. 9. mezo . . lybeccio. 10. mezo.

1078. Lines 6 18 are partly reproduced in the
facsimile on p. 254, and the whole of lines 19 25.

The following names are written along the rivers
on the larger sketch, era f (the Loire) scier f (the
Cher) three times. Pote Sodro (bridge of the Soudre).
Villa francha (Villefranche) banco (sandbank) Sodro
(Soudre). The circle below shows the position of
Romorantin. The words 'orologio del sole 1 written
below do not belong to the map of the rivers.
The following names are written by the side of the
smaller sketch-map: tors (Tours), jfbosa (Amboise)
bres for Bles (Blois) mo rica \\\\ (Montrichard). Lione
(Lyons). This map was also published in the
'Saggio' (Milano, 1872) PI. XXII, and the editors
remark : Forse la linia retla che va da Amboise a
Romorantin segna Fandamento proposto d'tm Canale, che
poi sembra prolutigarsi in giu fin dove sta scritto Lione,

M. Ravaisson has enlarged on this idea in the
Gazette des Beaux Arts (1881 p. 530): Les-traces de
Leonard permettent d'entrevoir que le canal commengant
soit aiipres de Tours, soit aiipres de Blois et passant par
Romorantin, avec port d'embarquement a Villefranche,
devait, au dela de Bourges, traverser I'Allier au-dessous
des affluents de la Dore et de la Sioule, aller par
Moulins jusfu' a Digoin; enfin , sur Pautre rive de la
Loire, depasser les monts du Charolais et rejoindre la
Saone aupres de Mdcon. It seems to me rash, however,
to found so elaborate an hypothesis on these sket-
ches of rivers. The slight stroke going to Lione is
perhaps only an indication of the direction. With
regard to the Loire compare also No. 988. 1. 38.

1079. The meaning is obscure; a more important
passage referring to France is to be found under
No. 744.

TOPOGRAPHICAL NOTES.

[1080 1082.

I080.

Modo come i Tedeschi ingarbugliano
on the e tessano, seradosi Isieme, 2 le loro targhe
lunghe cotro a nemici , abassandosi e
mettedo 3 vna delle teste a terra, tenedo il
resto in mano.

The way in which the Germans closing up
together cross and interweave their broad
leather shields against the enemy, stooping
down and putting one of the ends on the
ground while they hold the rest in their hand.

B. 63 J]

1081.

Vsano i Germani annegare castellani co
fumo di pivma, solfo 2 e risagallo-, e fanno
durare detti fumi 7 e 8 ore; acora la
3pula del frumeto fa assai e durabil fumo;
e letame secco ancor lui , 4 ma fa sia
mischiato colla sasa, cioe vliue tratte nel'
olio, o vuoi morchia sd'olio.

The Germans are wont to annoy a garrison
with the smoke of feathers, sulphur and realgar,
and they make this smoke last 7 or 8 hours.
Likewise the husks of wheat make a great
and lasting smoke; and also dry dung; but
this must be mixed with olive husks, that is
olives pressed for oil and from which the oil
has been extracted.

Leic.

1082.

The
Danube.

Come le ualli furo gia coperte in gra parte
da laghi, inperoch senpre il suo terreno fece
argine a fiumi, e da mari, i quali poi colla
perseueratione de' fiumi 2 segarono li monti, e
li fiumi coi lor vagabundi corsi portarono via
le altre pianvre incluse dalli moti, e le sega-
ture de'mqti so3no note per le falde delle
pietre, che si corrispondono nelle lor taglia-
ture fatte dalli detti corsi de' fiumi; *I1 Monte
Emus che riga la Tratia e la Dardaria e
si congiugne col Monte Sardonius, el quale,
seguendo 5 a ponete, muta il nome di Sardus
in | Rebi nel toccare la Dalmatia, poi se-
guendo a ponete riga li Illirici 6 oggi detta
Schiavonia, e mvta nome di | Rebi in | Al-
banus, e seguendo pure a ponete si muta
nel Mote Ocra ? a tramotana, e a mezzodl
sopra all'Istria si nomina | Caruancas e si
congiugne a ponete sopra 1' Italia col Mote

That the valleys were formerly in great
part covered by lakes the soil of which
always forms the banks of rivers, and by seas,
which afterwards, by the persistent wearing of
the rivers, cut through the mountains and the
wandering courses of the rivers carried away
the other plains enclosed by the mountains;
and the cutting away of the mountains is
evident from the strata in the rocks, which
correspond in their sections as made by the
courses of the rivers [4]. The Haemus moun-
tains which go along Thrace and Dardania
and join the Sardonius mountains which,
going on to the westward change their
name from Sardus to Rebi, as they come near
Dalmatia; then turning to the West cross
Illyria, now called Sclavonia, changing the
name of Rebi to Albanus, and going on
still to the West, they change to Mount Ocra
in the North; and to the South above Istria they
are named Caruancas ; and to the West above
Italy they join the Adula, where the Danube
rises [8], which stretches to the East and has a

1080. 2. chome i tedesci ingarigliano ettessano. 2. large lunge. 3. dele . . attera . . imano.

io3l. i. anegare chastclani. 2. risalgalo efiano. 3. elletame secho. 4. ovoi morcha.

1082. i. laghi "inperche senpre il suo terreno fece argine afiumi" e da mari. 2. segorono . . elli fiumi co . . portorono . .
moti elle. 3. chessi conrisspondano. 4. emus . . tratia ella dardaria essi congvgne . . monte [scardus] Sardonius. 5. nel
cottare la. 6. sciavonia . . ponente [segue] si muta. 7. attramotana e mezodi . . isstria . . essi congugne. 8. nasscie il reno

1080. Above the text is a sketch of a few lines
crossing each other and the words de ponder ibus. The
meaning of the passage is obscure.

1081. There is with this passage a sketch of a
round tower shrouded in smoke.

1082. 4. Emus, the Balkan ; Dardania, now Servia.

1082.]

THE DANUBE.

257

Adula, 8 doue nascie il Danubio, il quale
s'astende a leuante con corso di 1500 mi-
glia, e la sua linia breuissima e circa
^mille miglia, e altrettanto o circa e'l ramo
del Monte Adula mutato ne'predetti nomi
di moti; sta a tramon I0 tana il monte
Carpatus, il quale termina la larghezza della
valle del Danubio, la qual, come dissi,
s'astende "a leuate co lunghezza di circa
mille miglia, ed e larga doue 200 e doue
300 miglia; questa si mette pel I2 mezzo il
Danvbio, primo fiume d' Europa per magni-
tudine, il qual Danvbio si lascia per mezzo
di *3 Austria e Albania e per tramotana
Bauaria, Polonia, Ungheria, Valachia e
Bosnia; versaua adunque il Danubio | over
Da 14 noia nel mare di Ponto, il quale
s'astendea insino vicino all' Austria e occu-
paua tutta la pianvra che oggi 'Sdiscorre
esso Danvbio, e'l segno dico ne mostrano
1' ostriche e li nichi e bovoli e cappe e ossa
di gra pesci, che an l6 cora in molti lochi si
trouano nell'alte coste de'predetti moti; ed
era tale mare fatto per la ringorgatione
delli ra^mi del Monte Adula, che s'asten-
deano a leuante e si congiugneano colli
rami del Mote Tauro, che s'astendono a
po l8 nete, e circa alia Bitinia versaua 1'acque
d'esso Mare di Poto nel Propontico, ca-
dendo nel Mare Egeo cioe '9 Mar Mediter-
rano, doue poi il lungo corso spicco li rami
del Mote Adula dalli rami del Mote Tauro ;
li Mare 20 di Poto s'abasso e scoperse la
Val di Danubio colle prenominate provincie,
e tutta TAsia Minore di la dal monte Ta-
2I vro per tramotana e la pianvra ch'e
da Mote Caucasso al mare di Ponto
per ponete, e la pianura del Ta 22 nai
dentro alii monti Rifei cioe a' piedi loro;
Ecco che '1 mare di Ponto abbasso circa
a braccia 1000 2 -5nello scoprire di tanta
pianura.

course of 1500 miles; its shortest line is
about 1000 miles, and the same or about
the same is that branch of the Adula mountains
changed as to their name, as before mentioned.
To the North are the Carpathians, closing in
the breadth of the valley of the Danube,
which, as I have said extends eastward,
a length of about 1000 miles, and is some-
times 200 and in some places 300 miles
wide; and in the midst flows the Danube,
the principal river of Europe as to size. The
said Danube runs through the middle of
Austria and Albania and northwards through
Bavaria, Poland, Hungary, Wallachia and Bos-
nia and then the Danube or Donau flows
into the Black Sea, which formerly extended
almost to Austria and occupied the plains
through which the Danube now courses; and
the evidence of this is in the oysters and
cockle shells and scollops and bones of
great fishes which are still to be found in
many places on the sides of those mountains;
and this sea was formed by the filling up of
the spurs of the Adula mountains which then
extended to the East joining the spurs of the
Taurus which extend to the West. And
near Bithynia the waters of this Black Sea
poured into the Propontis [Marmora] falling
into the ^Egean Sea, that is the Mediterranean,
where, after a long course, the spurs of the
Adula mountains became separated from
those of the Taurus. The Black Sea
sank lower and laid bare the valley of
the Danube with the above named coun-
tries, and the whole of Asia Minor beyond
the Taurus range to the North, and the
plains from mount Caucasus to the Black Sea
to the West, and the plains of the Don this
side that is to say, at the foot of the Ural
mountains. And thus the Black Sea must
have sunk about 1000 braccia to uncover
such vast plains.

il quale . . alleuante conchorio . . ella . . circha. 9. circha . . attramon. 10. largeza. n. alleuate co lungeza . .
largha [dalle do] doue. 12. mezo . . danvbbio . . danvbbio si lasscia per mezo. 13. vngeria . . ebboxnia . . danubbio
over da. 14. sasstendea . . ochupaua. 15. disscorre . . losstriche elli . . e bovoli e chappe . . pessci. 17. chessastendeano
alleuante essi congugneano . . taruro chessastendanoal. 18. circha allabettima versaua . . proponticho chadendo . . egeocoe.
19. mediterano . . spicho. 20. esscoperse la ual di danv | "bbio" . . province ettutta . . minore dala dal. 21. ella . . . cha-
vcaso . . ella. 22. coe . . Ecchochel . . circha a br. 1000. 23. isscoprire.

8. Danubio, in the original Reno; evidently a mistake as we may infer from come dissi 1. 10 &c.

III.

THE COUNTRIES OF THE WESTERN END OF THE
MEDITERRANEAN.

A. 57 "1

1083.

IL MARE FA LA CORRETE
NKLLO STRETTO DI SPAGNIA PIV
CH'ALTROVE.

2 1! II fiume d' equal profon-
dita avra tanto piv fuga
nella minore larghezza 3 C he
nella maggiore , quanto la
maggiore larghezza avanza
la minore;!

i Questa propositione si
pruova . chiaramete per ragione
coferma sdalla sperienza-, jn-
peroche, quando per uno ca-
nale d'uno miglio di larghezza
passe 6 ra uno miglio -di lugh-
ezza d'acqua, dove il fiume-
fia- largo 5 migli, ciascuno 7de
5 migli quadri mettera Vs
di se per ristaurare il mi 8 glio
quadro d'acqua macato nello
pelago, 9 e dove il fivme fia
lar I0 go 3 miglia -, ciascu"no
d'essi migli quadri I2 mettera di
se lo terzo ^ di sua quatita per
lo maHcare che fecie il mi'Sglio
quadro dello stret l6 to , come si
dimo^stra -m-f-g-h I8 per lo
miglio n.

WHY THE SEA MAKES A STRONGER

CURRENT IN THE STRAITS OF SPAIN

THAN ELSEWHERE.

A river of equal depth runs
with greater speed in a narrow
space than in a wide one, in
proportion to the difference be-
tween the wider and the narrower
one.

This proposition is clearly
proved by reason confirmed
by experiment. Supposing that
through a channel one mile
wide there flows one mile in
length of water; where the river
is five miles wide each of the
5 square miles will require
Vs of itself to be equal to
the square mile of water re-
quired in the sea, and where
the river is 3 miles wide each
of these square miles will re-
quire the third of its volume
to make up the amount of the
square mile of the narrow part;
as is demonstrated in f g h at
the mile marked n.

1083. * chorete . . chaltro"ve". 2. ara . . fugha . . largheza. 3. chenella . . quancto . . largheza. 4. [perissperienza] per . .
choferma. 5. dallissperienza . . per 1 chanale. 6. ra i miglio di lugezza dacq"a" . . ciaschuno. 7. ciasscun "de 5"
migli[o] quadr[o] i mettera [per ristaurare il ma] '/ di se. 8. dacq-a" machato . . pelago A. 9. ^ e dove. 10. gho
. . ciaschu. 14. chare cheffecie. 15. stre. 16. chome. Lines 918 are written in the margin.

1083. In the place marked A in the diagram
Mare Medtterano (Mediterranean Sea) is written in

the original. And at B, stretto di Spagna (straits
of Spain, i. e. Gibraltar). Compare No. 960.

10841086.]

THE STRAITS OF GIBRALTAR.

259

C. A. 212 b; 6266] 1084.

PERCHE E MAGGIORE SEPRE LA CORRETE DI
SPAGNIA INVERSO PONETE CHE PER LEUATE.

2 La ragio si e , che se tu metterai in-
sieme-le boche de'fiumi che mettono in
questo Mare Mediterrano, tu tro^verai
essere maggiore sorha d'acqua ch'e
quella che uersa esso mare per lo stretto
in nell'oceano mare; 4 tu vedi 1' Africa sca-
ricare i sua fiumi che corrono a tramo-
tana inesso mare ifra i quali 5 e il Nilo -,
che riga 3000 miglia dell' Africa , e vi e
il- flume Bagrada, -e '1 Mavretano, e altri
simili; 6 1' Euro-pa vi versa il Tanai e '1 Da-
nvbio , il Po e '1 Rodano, Arno e Teuere,
siche chiaramente questi fivmi insieme co?n
Ifiniti fivmi di minor fama fanno mag-
giore larghezza e profodita e corso , e
non e il mare stretto 18 miglia 8 che nel
ultima terra di ponete diuide 1'Europa
daP Africa.

WHY THE CURRENT OF GIBRALTAR IS ALWAYS
GREATER TO THE WEST THAN TO THE EAST.

The reason is that if you put together
the mouths of the rivers which discharge
into the Mediterranean sea, you would find
the sum of water to be larger than that
which this sea pours through the straits into
the ocean. You see Africa discharging its
rivers that run northwards into this sea, and
among them the Nile which runs through
3000 miles of Africa; there is also the
Bagrada river and the Schelif and others.
Likewise Europe pours into it the Don and
the Danube, the Po, the Rhone, the Arno,
and the Tiber, so that evidently these rivers,
with an infinite number of others of less
fame, make its great breadth and depth and
current; and the sea is not wider than 18
miles at the most westerly point of land where
it divides Europe from Africa.

Leic. 106] 1085.

II 2 seno mediterrano come pelago ri-
cevea 1'acque regali del' Africa, Asia ed
Europa, che a esso erano volte, 3e le sue
acque veniano alle piaggie de'monti, che
le circudavano, e 11 faceano argine, e le
time idello Apennino stauano in esso mare
in forma d'isole, circudate dalle acque salse,
Se ancora 1' Africa dentro al suo Mote Ata-
lante non mostraua al celo scoperta la
terra delle sue gra pianvre co circa 6 a
3000 miglia di lunghezza, e Mefi risedeua
in sul lito di tal mare, e sopra le pianvre
della Italia, doue oggi ?vola li ucielli a
turme, soleano discorrere i pesci a gradi
squadre.

The gulf of the Mediterranean, as an
inland sea, received the principal waters
of Africa, Asia and Europe that flowed
towards it; and its waters came up to the
foot of the mountains that surrounded it and
made its shores. And the summits of the
Apennines stood up out of this sea like is-
lands, surrounded by salt water. Africa again,
behind its Atlas mountains, did not expose
uncovered to the sky the surface of its
vast plains about 3000 miles in length, and
Memphis [6] was on the shores of this sea,
and above the plains of Italy, where now
birds fly in flocks, fish were wont to wander
in large shoals.

Leic. 27 6] IO86.

Co 2 me sopra Tunisi e il maggior ri-
flusso che faccia il Mare Mediterrano che
son circa 2 braccia ^e I / 2 , e a Venezia
cala 2 braccia; e in tutto il resto di tal
Mare Mediterrano cala poco o ni^ente.

The greatest ebb made anywhere by the Tunis.
Mediterranean is above Tunis, being about two
and a half braccia and at Venice it falls two
braccia. In all the rest of the Mediterranean
sea the fall is little or none.

1084. magiore . . chorete . . inver. 2. settu . . mettano. 3. magiore . . dacq"a" . . inell. 4. lafricha scharichare . . chorano
attramotana . . equali. 5. dellafricha . ini . il fiume bagrada. 6. levropia . . siche ciaro . . cho. 7. fano magiore lar-
geza . . chorso . . moglia. 8. nelutimatera . . leeropa . . africha.

1085. i. nel. 2. seno [mediteranol mediterano il quale come pelagho . . regali [di circha 300 fiumi regali] "delafrica asia edeu-
ropa, che acso erano volte". 3. e cholle . . acque veniano ale piagge . . chello . . elli faceano . . elle cime. 4. apennino
[in forma di sole] stauano in eso . . circhudate. 5. lafricha [non mos] dentro . . attalante no mostraua . . celo "scoperta
la terra de" le sue . . circha. 6. lungeza e men . . sulito . . mare "e sopra" le. 7. [disora] vola . . atturme solea . .
pessci a grade.

1086. 2. tuniti . . magor . . refrusso . . mediterano . . circha 2 br. 3. vinegia chala . . meditera . . pocho.

1084. 5. Bagrada (Leonardo writes Bragada) in Tunis, now Medscherda; Mavretano, now Schelif.

1085. 6. M'efi. Leonardo can only mean here the citadel of Cairo on the Mokattam hills.

260

TOPOGRAPHICAL NOTES.

[10871089.

F. 6s a]

1087.

Descriui li moti de' flessibili aridi, cioe
u>y- della 'creatione dell'onde della rena portate
dal ue^to, e de'sua moti e colli, come
accade nella LHbia; 1'esenplo ne vedrai
sulli gra renaj sdi P di Tesino o altri
gra fiumi.

Describe the mountains of shifting deserts;
that is to say the formation of waves of sand
borne by the wind, and of its mountains and
hills, such as occur in Libya. Examples
may be seen on the wide sands of the Po
and the Ticino, and other large rivers.

io88.

Circufulgore e vna macchina navale
Majorca, fu invetione di quelli di Majolica.

Circumfulgore is a naval machine. It was
an invention of the men of Majorca.

Ah. II. I2) !O8g.

Alcuni nel Mare Tirreno vsarano questo
The modo, cioe 2 appiccauano vn acora a Tuna
y sea ene delle stremita dell'atena, ^e dall'altra vna
corda che I basso s'appiccava a vn acora,
4 e nel pugniare attacavano detta acora ai
remeggi dell' oSposito navilio, e per forza
d' argano quello madavano alia bada 6 e
gittavano sapon tenero e stoppa Ipeciata
Ifocata sulla 7prima bada dou'era 1' acora
attaccata, accioche, per fugir detto 8 foco, i
difenditori d'esso navilio avessino a fugire
da 1' op9posita bada, e faciedo cosi facievano
avmcto allo spugnia I0 tore, perche la galera
piv facilmete per lo cotrapeso "andava
alia bada.

Some at the Tyrrhene sea employ this
method; that is to say they fastened an anchor
to one end of the yard, and to the other a
cord, of which the lower end was fastened to
an anchor; and in battle they flung this anchor
on to the oars of the opponent's boat and by
the use of a capstan drew it to the side;
and threw soft soap and tow, daubed with
pitch and set ablaze, on to that side
where the anchor hung; so that in order
to escape that fire, the defenders of that ship
had to fly to the opposite side; and in doing
this they aided to the attack , because the
galley was more easily drawn to the side
by reason of the counterpoise.

1087 i. desscriui . . fressibili. 3. cholli . . 1088. maccina . . macolica.

1089. i. tircno. 2. apichauano nacora [chorda che ibaso sapienvavacora] "aluna delle slremita dellatena". j. chorda . . sapi-

cava. 4. decta uchora ai remigi. 5. ala. 6. stopa Ipegolata . . sula. 7. boda lacoratachata acio. 8. affugire dallo.

9. effaciedo. 10. galea.

io8S. The machine is fully described in the MS.
and shown in a sketch.

1089. This text is illustrated in the original by
a pen and ink sketch.

IV.

THE LEVANT.

Leic. 31 a]

1090.

Truovasi nelle riue del Mare Mediter-
rano versare fiumi 300, 2 e porti 40 mila 200,
e esso mare e di lunghezza miglia 3000;
Molte volte s'e accozza3to 1' accrescimeto
de'mari del riflusso suo e'l soffiare delli
venti occidental! al diluuio del Nilo, ed alii
fiumi che uersa dal mare di Poto, ed auere
alzato tanto li mari che so s co gradissimi di-
luvi discorsi per molti paesi, e questi di-
luui accadono nel tenpo, che '1 sole 6 distrugie
le neui delli alti moti d'Etiopia che si le-
uano alia fredda regio dell' aria, e si 7 mil-
mete fa I'appressameto del sole alii moti
della Sarmatia Asiatica e quella d'Europa,
8 in modo che P accozzameto di queste 3
dette cose sono, e sono state cagione di
gra^dissimi diluui, doe il riflusso del mare,
e li uehti occidentali, e la distrutio delle
nevi; e ogni cosa I0 ringorgata nella Siria,
Samaria, la Giudea infra Sinai e il Libano,
e '1 resto della Siria infra "il Libano e Mote

On the shores of the Mediterranean 300 The Lava
rivers flow, and 40, 200 ports. And this sea tine Sea
is 3000 miles long. Many times has the in-
crease of its waters, heaped up by their back-
ward flow and the blowing of the West winds,
caused the overflow of the Nile and of the rivers
which flow out through the Black Sea, and have
so much raised the seas that they have spread
with vast floods over many countries. And
these floods take place at the time when the
sun melts the snows on the high mountains
of Ethiopia that rise up into the cold regions
of the air; and in the same way the approach
of the sun acts on the mountains of Sarmatia
in Asia and on those in Europe; so that the
gathering together of these three things are,
and always have been, the cause of tremendous
floods : that is, the return flow of the sea with
the West wind and the melting of the snows.
So every river will overflow in Syria, in
Samaria, in Judea between Sinai and the
Lebanon, and in the rest of Syria between
the Lebanon and the Taurus mountains, and
in Cilicia, in the Armenian mountains, and
in Pamphilia and in Lycia within the hills,

logo. i. mediterano. 2. porti [5] 40 mila 200 . . langeza . . seacoza. 3. lacresscimeto . . refrusso. 4. del mare . . ponto aveuere.
5. luui disscorsi . . ecquesti . . achagiano. 6. le neue . . chessi . . freda . . essi. 7. lapressameto . . asiaticha ecquella.
8. chellacogamito . . chagione. 9. coe il refrusso . . ocidentali ella. 10. soria someria la gudea . . sinai e e libano . .
soria. u. elibano . . ella cilicia . . motermini ella . . litia dentrali. 12. ellegitto . . attalante . . lagho . . chade.

262

TOPOGRAPHICAL NOTES.

IO92.

Tauro, e la Cilicia dentro alii moti Armeni
e la Pamfilia e Licia dentro alii moticelli
"e 1'Egitto insino al mote Atlante; H seno
di Persia, che gia fu lago gradissimo del
Tigris e cade'^a nel mare d* India, ora a
consumato il mote- che li facea argine, e
si e ragguagliato coll'altezza I +dello Oc-
ceano Indico; E se '1 Mare Mediterrano se-
quiva il moto suo nel se d'Arabia, acor
facieva il simile, 'Scio^ che si ragguagliava
1'altezza Mediterranea colla altezza d'esso
Mare Indico.

and in Egypt as far as the Atlas mountains.
The gulf of Persia which was formerly a
vast lake of the Tigris and discharged into
the Indian Sea, has now worn away the
mountains which formed its banks and laid
them even with the level of the Indian
ocean. And if the Mediterranean had con-
tinued its flow through the gulf of Arabia, it
would have done the same, that is to say,
would have reduced the level of the Medi-
terranean to that of the Indian Sea.

Lic.

1091.

Verso 1'acqua Mediterrana lungamente
The Red pel Mare Rosso , el quale e 2 largo cento
IOQI^*^). miglia e lungo mille cinque cento; e tutto
pieno di scogli, e a consumato li Ia3ti del
Mote Sinai, la qual cosa testifica, no da
inodatione del Mar d'India, che in tali liti
percuo 4 tesse, ma da una ruina d'acqua, la
qual portaua con seco tutti li fiumi che
soprabbonsdauano al Mare Mediterrano, e
oltre a questo il riflusso del mare; 6 e poi,
essendo tagliato nel ponente, 3 mila miglia
remoto da questo loco, il mote Calpe e
s 7 piccato dal Mote Abila, e fu tal taglio
fatto bassissimo nelle pianure che si tro-
uaua infr.i Abila 8 e 1'oceano a pie del monte
in loco basso, aiutato dal concauameto di
qualche vallata fatta 9 da alcun flume che
quiui passasse; venne Ercole ad aprire il
mare nel poncte, e allora I0 l'acque ma-
rine cominciarono a uersare nell'oceano
occidentale, e per la gra. bassezza, il Mare
"Rosso rimase piv alto, onde 1'acque anno
abbandonato il corso di quiui; senpre anno
poi versa I2 to 1'acque per lo Stretto di
Spagna.

For a long time the water of the Medi-
terranean flowed out through the Red Sea,
which is 100 miles wide and 1500 long, and
full of reefs ; and it has worn away the sides
of Mount Sinai, a fact which testifies, not to
an inundation from the Indian sea bearing
on these coasts, but to a deluge of water
which carried with it all the rivers which
abound round the Mediterranean, and besides
this there is the reflux of the sea; and then,
a cutting being made to the West 3000 miles
away from this place, Gibraltar was separated
from Ceuta, which had been joined to it. And
this passage was cut very low down, in the
plains between Gibraltar and the ocean at
the foot of the mountain, in the low part,
aided by the hollowing out of some valleys
made by certain rivers, which might have
flowed here. Hercules came to open the sea
to the westward and then the sea waters
began to pour into the Western Ocean ;
and in consequence of this great fall,
the Red Sea remained the higher ; whence the
water, abandoning its course here, ever after
poured away through the Straits of Spain.

C. A. 321 b; 9710]

IOQ2.

La superfitie del Mare Rosso e in li- The surface of the Red Sea is on a level

uello coll'oceano. with the ocean.

13. chelli . argine edessi ragualgliato . . alteza. 14. indicho Esse . . mediterano. 15. coe chesi ractialgliaua laltezza medi-

teranea . . alteza . . indicho. .

1091. i. mediterana lunghamente. 2. largho . . ellungho . . cinquecento tutto. 3. de moti sinai . . liti percho. 4. tessi . . con-

secho . . soprabon. 5. dauono . . mediterano e oltre adiquesto il refrusso. 6. chalpe es. 7. pichato . . abile effii . .

ches&i trovaua . . abile. 8. ellocceano . . locho . . chonchauameto. 9. passassi . . erchole. 10. comincorono . . occeano

. . perlla . . basseza. n. lacque anbandonato.
1099. i. mare [so] rosso e illiuello. 2. chaduta . . esserrato [elj la bocha. 3. mediterano. 4. rlghorghato. 5. fralli . . ghade-

1091. 9. Leonardo seems here to mention to the reader an allusion to the legend of the pillars
Hercules half jestingly and only in order to suggest of Hercules.

1092.]

THE LEVANT.

263

2 Puo esser caduta vna motagnia e, ser-
rato la bocca 3 del Mare Rosso, e proibito
1'esito al Mediterrano, e co^sl rigorgato tal
mare abbia per esito il trasito Pfra li gioghi
Gadetani, perche similmente abbia 6 veduti
alii nostri tepi cadere v monte di sette
7 miglia e serrare vna valle e fame lago, e
cosl so 8 fatti la maggior parte de'laghi da
moti come Lago di ?Garda di Como e Lu-
gano, e '1 lago Maggiore; I0 il Mediterrano
poco s'abbasso per il taglio Gaditano ne TI li
cofini della Siria e assai in esso taglio, perche
pri I2 ma che tal taglio si creasse, esso mare
versaua per scirocco, I3 e poi s'ebbe a fare
la calata, che corresse a tal Gaditano.

14 In a cadea 1'acqua 'Sdel Mediterrano
nel oce l6 ano.

^IfTutte le pianure che son l3 dalli
mari-alli moti, sono T 9gia state coperte
dall'acque salse;Tf

20 TfOgni valle e fatta dal suo fiu 2I me e
tal proportione e da valle a va! 22 le, quale
e da fiume a fiume; If

2 3lfll massimo fiume del nostro modo e
2 'il Mediterrano fiume, If

25 If che si move dal principio 26 del Nilo
all'Oceano occide 27 tale, If

28 e la sua suprema altezza 29 e nella
Mavretania este3riore, e a di corso 10
mila 3I miglia, prima che si ripatrii 3 2 col suo
Oceano, padre delle acque,

34Cioe 3000 il Mediterrano, 3000 35 il
Nilo scoperto, e 3000 il Nilo 3 6 che corre
a oriete ecc.

A mountain may have fallen and closed
the mouth of the Red Sea and prevented
the outlet of the Mediterranean, and the
Mediterranean Sea thus overfilled had for
outlet the passage below the mountains of
Gades; for, in our own times a similar thing
has been seen [6]; a mountain fell seven
miles across a valley and closed it up and
made a lake. And thus most lakes have been
made by mountains, as the lake of Garda,
the lakes of Como and Lugano, and the Lago
Maggiore. The Mediterranean fell but little
on the confines of Syria, in consequence of the
Gaditanean passage, but a great deal in this
passage, because before this cutting was made
the Mediterranean sea flowed to the South
East, and then the fall had to be made by its
run through the Straits of Gades.

At a the water of the Mediterranean fell
into the ocean.

All the plains which lie between the sea
and mountains were formerly covered with
salt water.

Every valley has been made by its own
river; and the proportion between valleys is
the same as that between river and river.

The greatest river in our world is the
Mediterranean river,

which moves from the sources of the
Nile to the Western ocean.

And its greatest height is in Outer Mau-
ritania and it has a course of ten thous-
and miles before it reunites with its ocean,
the father of the waters.

That is 3000 miles for the Mediterranean,
3000 for the Nile, as far as discovered and
3000 for the Nile which flows to the East, &c.

tani . . simile abbia. 6. veduta. 7. serare . . effarne lagho. 8. magiore laghi de moti . . lagho. 9. gharda [lac] di coino
ellughano ellagho magiore. 10. mediterano pocho sabasso . . ghaditano. n. soria. 12. chettal . . scirocho. i3. affare
. . choressi . . Gadetano. 14. chadea. 15. mediteraneo nel. 17. chesson. 19. dallacq. 20. effatta. 21. ettal pro"ne".
22. he daffiume affiume. 23. del "nostro" mode he. 24. mediterano [fatto] fiume. 25. [di] chessi . . occieano. 28. ella . .
supprema. 29 he . . esste. 32. occieano. 34. mediterano. 36. chorre [da] a oriete.

1092. See PI. CXI 2, a sketch of the shores of
the Mediterranean Sea, where lines II to 1 6 may
be seen. The large figures 158 are not in Leonardo's
writing. The character of the writing leads us
to conclude that this text was written later than the
foregoing. A slight sketch of the Mediterranean is
also to be found in MS. I', 47 a .

6. Compare also No. 1336, 11. 30, 35 and 36.
Paolo Giovio, the celebrated historian (born at

Como in 1483) reports that in 1513 at the foot of
the Alps, above Bellinzona, on the road to Switzer-
land, a mountain fell with a very great noise, in
consequence of an earthquake, and that the mass
of rocks, which fell on the left (Western) side
blocked the river Breno (T. I p. 218 and 345
of D. Sauvage's French edition, quoted in ALEXIS
PERCY , Memtire des tremblements de terre de la pcnin-
sule italique; Acadcmie Roy ale de Belgique. T. XXII).

26 4

TOPOGRAPHICAL NOTES.

[1093 1096.

C. A. 94';

1093.

Aduque cocluderemo quelle motagnie Therefore we must conclude those moun-

me Nile essere di maggiore altura, 2 sopra delle . tains to be of the greatest height, above

(1093-1098). q ua jj . fioccando I'origine -del Nilo dai nu- which the clouds falling in snow give rise

voli casca. to the Nile.

B. 61 1\

1094.

Gli Egiziani, gli Etiopi e gli Arabi nel The Egyptians, the Ethiopians, and the Arabs,

passare il Nilo vsano ai cameli 2 appiccare in crossing the Nile with camels, are accustomed

ai lati del busto 2 baghe cioe otri I questa to attach two bags on the sides of the camel's bo-

forma di sotto. dies that is skins in the form shown underneath.

^ In queste 4 maglie di re 4 te mettono i In these four meshes of the net the camels

pie i cameli s di carriaggi. for baggage place their feet.

Leic.

1095.

II Tigri passa per 1'Asia Minore, il
quale ne porta 2 con seco 1'acqua di 3 pa-
duli, F un dopo F altro di uarie altezze, de'
quali il piv alto e Munace, e '1 mezzano
e Pallas, 3 e '1 piu basso & Triton; ancora
el Nilo diriua di 3 altissimi paduli in Eti-
opia, il quale corre a tramotana e versa
nel mare d'Egitto con corso di 4000 miglia,
e la sua breuissima e diritta linia *e 3000
miglia; di quel che s'a notitia escie de'
moti della luna con diuersi e incogniti pri-
cipi, e tro 6 vasi li detti laghi alti sopra la
spera dell'acqua circa a 4000 braccia cio&
vn miglio e l / 3 , a dare ?vn braccio di ca-
duta al Nilo per ogni miglio.

The Tigris passes through Asia Minor
and brings with it the water of three lakes,
one after the other of various elevations;
the first being Munace and the middle
Pallas and the lowest Triton. And the Nile
again springs from three very high lakes in
Ethiopia, and runs northwards towards the
sea of Egypt with a course of 4000 miles,
and by the shortest and straightest line it is
3000 miles. It is said that it issues from
the Mountains of the Moon, and has various
unknown sources. The said lakes are about
4000 braccia above the surface of the sphere
of water, that is i mile and J /j , giving to
the Nile a fall of i braccia in every mile.

Leic. 2i i]

IO96.

Moltissime volte il Nilo e gli altri fiumi
di gra ma 2 gnitudine anno versato tutto
F elemeto dell' acqua e reduto al mare.

Very many times the Nile and other very
large rivers have poured out their whole ele-
ment of water and restored it to the sea.

1093. i. [aduque chocluderemo quelle motagnie essere di magiore altura]. ?. [sopra delle quali loriginc del nilo dai nvvoli

fiochando cade], 3. sopra delle quali | "fiochando del nilo . dai nvvoli . cade". 4. chocuderano . . magiore 5. fiochando
. . nvuoli casscha.

1094. i. egiti. t. apichare . . bage. 4. mettano. 5. cariagi.

1095. i. come trigon il quale passa per la minore africha il quane ne. 2. consecho lacq"a" . . alteze . . mezano. 4. attramo-
tana . . ella sua . . ediritti. 5. he 3000 . . quel chessa notitio esscie. 6. vasi . . soppra lasspera dellacq"a" circha 4000 br.
coe. 7. vn br. di.

1094. Unfortunately both the sketches which
accompany this passage are too much effaced to
be reproduced. The upper represents the two
sacks joined by ropes, as here described, the other

shows four camels with riders swimming through
a river.

1095. 5. Incogniti prindpio. The affluents of the
lakes are probably here intended. Compare, as
to the Nile, Nos. 970, 1063 and 1084.

1097 noo.]

THE LEVANT.

265

Leic. 22a] IO 97-

Perche il Nilo inoda Testate e vie da Why does the inundation of the Nile occur

paesi focosi? in the summer, coming from torrid countries?

10980

Leic. 32 6}

No si nega che '1 2 Nilo al continvo
3 non etri torbido 4 nel mare d' Egitto, s e
che tal turbule 5 tia non sia ca?vsata dal
terre, 8 che esso fiume Ie9ua al continvo
da' I0 lochi, onde passa, IT il qual terre I2 mai
ritorna in ^dirieto nel ma I4 re che lo ricieue,
X 5se no lo ributta al l6 li sua liti; vedi ^il
mare areno l8 so dirieto al mo^te Atlante,
doue gia 20 fu coperto d'acqua 2I salsa.

It is not denied that the Nile is con-
stantly muddy in entering the Egyptian sea
and that its turbidity is caused by soil
that this river is continually bringing from
the places it passes; which soil never
returns in the sea which receives it, unless
it throws it on its shores. You see the
sandy desert beyond Mount Atlas where
formerly it was covered with salt water.

B. 6*6]

1099.

Gli Assiri e quelli di Evbea vsano ai
loro cavalli 2 portare sacchi da potere a lor
posta epiere di ueto , 3 i quali portano in
scabio di bandella della sella di sopra *e
d'accanto, e bene e coperta di piastre
di corame cotto, saccioche '1 saettame
non le fora, si che non ano in cvore la
6 fuga sicura che la uittoria icierta; vno
cavallo 7 C osl fatto passa 465 omini a v
bisosrnio.

The Assyrians and the people of Euboea Customs of
accustom their horses to carry sacks which Nairn's
they can at pleasure fill with air, and which ( I0 99- Iio ).
in case of need they carry instead of the
girth of the saddle above and at the side,
and they are well covered with plates of cuir
bouilli, in order that they may not be perforated
by flights of arrows. Thus they have not on
their minds their security in flight, when the
victory is uncertain; a horse thus equipped
enables four or five men to cross over at need.

B. 62 1]

noo.

NAVICULA.

SMALL BOATS.

2 Le navicule apresso all Assiri furono
fatte di uirghe sottili di salice *e tessute
sopra pertiche pur di salice, ridotte I forma
di barchetta, ilotate *di poluere sottile in-
beuerata d'olio, o di tremetina ridotta I
natura 5 di fango, la qual facieva resistetia
al' acqua, e perche il pino n'isfendea per 6 senpre
stava fresca ci essere vesti detta sorte di navi-
cule-di pelle bouine 7 nel passare Sicuris-,
fiume di Spagnia, secodo ne testifica Lu-
cano;

The small boats used by the Assyrians
were made of thin laths of willow plaited
over rods also of willow, and bent into the
form of a boat. They were daubed with fine
mud soaked with oil or with turpentine, and
reduced to a kind of mud which resisted the
water and because pine would split; and always
remained fresh; and they covered this sort
of boats with the skins of oxen in safely
crossing the river Sicuris of Spain, as is
reported by LucanCy].

1097. lastade . . dipaesi.

1098. i. negha. 5. chcttal. 6. cha. 9. de. n. equal. 14. re lo. 15. nollo rebutta. 19. attalante. 20. dacq"a".

1099. i. ecquelli . . cavagli. 3. schabio. 4. dacanto. 5. acciochel saettumel fora si che non ano inecare (?) la.
6. uettoria.

noo. i. navichula. 2. navichula . . sali\\\\\\\. 3. ettessute. 4. o di tue metina ridotta. 5. alacqua e pechel pinonis fede aper.
6. fresca ci essere vesti detta sorte di navicule . di pele bouine. 8. lissciti elli . . voliono. 9. aligano li gratici . . bage

noo. 7. See Lucan's Pharsalia IV, 130:
Utque habuit ripas Sicoris camposque reliquit,
Primum cana salix made/ado vimine parvam
Texitur in puppim, calsogue inducto juvenco
Vedoris patiens tumidum supernatat amnem.
Sic Venetus stagnante Pado, fusoque Britatinns
Navigat oceano, sic cum tenet omnia JVtlus,
Conseritur bibida Memphitis cymbo papyro.

VOL. II.

His ratibns transjecta manus festinat utrimque

Succisam cavare nemus cS-v.

Caesar (de bello civ. I, 54) has the same remark
about the Britanni (confirmed by Pliny, hist. nat.
IV, 15) which Leonardo here makes about the
Assyrians. This and the foregoing text are illu-
strated by slight sketches.

266

TOPOGRAPHICAL NOTES.

flIOI 1103.

L'Ispani -, li Sciti e li Arabi , quado The Spaniards, the Scythians and the

vogliono fare vn subito pote, 9 a lligano-H Arabs, when they want to make a bridge in

graded fatti di salice sopra le baghe overo haste, fix hurdlework made of willows

11- i ;_- ._ \ ~~~~* oi^ufi bags of ox-hide, and so cross in

otri di pelli bouine,
mente.

3 e cosl passa sicura-

on
safety.

Rhode*

Leic. .*|

Nello ottanta 9 fu vno terremoto nel
mar di Atalia presso a Rodi, il quale aperse

-il mare cioe il fondo, 'nella qual apritura

' .
si sommerse tanto diluuio d acque, cne per

piv di 3'- ore si scoperse il fondo del mare
dair acque, che 3 di quiui si spogliarono, e
poi si richiuse al primo grado.

In [fourteen hundred and] eighty nine
there was an earthquake in the sea of Atalia

n f ea ' * hodes > ^ lch P e . ned the sea - that 1S
its bottom and into this opening such a
torrent of water poured that for more than

three hours the bottom of the sea was un-
covered by reason of the water which was lost
in if and ^en it closed to the former level.

L. o'J

Rodi a detro 5000 case.

1102.

Rhodes has in it 5000 houses.

W. XVIIal

PEL SITO DI VENERE.

1103.

SITE FOR [A TEMPLE OF] VENUS.

2 Farai le scale da 4 faccie, per le quali You must make steps on four sides, by

Cyprus si pervenga a un prato fatto dalla natura which to mount to a meadow formed by

1103. "<M)- SO p ra vn sasso, 3 il quale sia fatto vuoto e nature at the top of a rock which may be

sostenvto dinanzi con pilastri , e sotto tra- hollowed out and supported in front by pi-

forato con magno portico, ne! 4 li quali uada lasters and open underneath in a large portico,

il mare co" el fondo [del mare]. 2. somerse tane diluuio . . mare dellacqua.

ovrotri . . pelle. 10. passa.
noi. i mare disatalia preso . . aperse

3. spogliorono.
1103. 2. lesscale . . pervena . . prato [for] fatto [sopr] dalla. 3. voto essoslenvta . . pilasstri essctto . . conmagnio porticho, ne.

iioi. Nello ottanto 9. It is scarcely likely that
Leonardo should here mean 89 AD. Dr. H. MULLER-
STROBING writes to me as follows on this subject:
"With reference to Rhodes Ross says {Rase auf den
Gruchischen Inseln, III 70 ff. 1840), that ancient his-
tory affords instances of severe earthquakes at
Rhodes, among others one in the second year of
the 138 th Olympiad=27O B. C. ; a remarkably
violent one under Antoninus Pius (A. D. 138 161)
and again under Constantine and later. But Leo-
nardo expressly speaks of an earthquake "nel mar
di Atalia fresso a Rodi n t which is singular. The
town of Attalia, founded by Attalus, which is what
he no doubt means, was in Pamphylia and more
than 150 English miles East of Rhodes in a straight
line. Leake and most other geographers identify it
with the present town of Adalia. Attalia is rarely
mentioned by the ancients, indeed only by Strabo
and Pliny and no earthquake is spoken of. I think
therefore you are justified in assuming that Leonardo
means 1489"." In the elaborate catalogue of earth-
quakes in the East by Selale Dshelal eddin Sayouthy

(an unpublished Arabic MS. in the possession of
Prof. SCHEFER, (Membre de 1'Institut, Paris) mention is
made of a terrible earthquake in the year 867 of
the Mohamedan Era corresponding to the year
1489, and it is there stated that a hundred persons
were killed by it in the fortress of Kerak. There
are three places of this name. Kerak on the sea
of Tiberias , Kerak near Table on the Libanon,
which I visited in the summer of 1876 but neither
of these is the place alluded to. Possibly it may
be the strongly fortified town of Kerak = Kir Moab,
to the West of the Dead Sea. There is no notice
about this in ALEXIS PERCY, Ml 'moire sur la
tremblements de terres ressentis dans la feninsule turco-
hillenique et en Syrie (Memoires couronnes et memoires
des savants etrangers, Academie Royale de Belgique,
Tome XXIII).

1103. See PL LXXXIII. Compare also p. 33
of this Vol. The standing male figure at the side
Is evidently suggested by Michael Angelo's David.
On the same place a slight sketch of horses seems
to have been drawn first; there is no reason for

1104

THE LEVANT.

267

1'acqua in diuersi vasi di graniti porfidi
e serpetini, dentro a emicicli, e spaSda
1'acqua in se medesimi, e dintorno a tal
portico inverso tratnotana sia un lago con
vna isoletta 6 in mezzo, nella quale sia vn
folto e obroso bosco; 1'acque in testa ai
pilastri sie uersate in uasi ai pie ?de' sua
inbasameti, de' quali si spargano piccoli
riuetti ;

8 Partendosi dalla 9riviera di Cilitia in-
verso meridio si scopre I0 la bellezza dell'isola
di Cipri.

in which the water may fall into various vases
of granite, porphyry and serpentine, within semi-
circular recesses ; and the water may overflow
from these. And round this portico towards the
North there should be a lake with a little island
in the midst of which should be a thick and
shady wood; the waters at the top of the pila-
sters should pour into vases at their base, from
whence they should flow in little channels.

Starting from the shore of Cilicia towards
the South you discover the beauties of the is-
land of Cyprus.

W. XVII<5]

1104.,

Dalli meridionali lidi di Cilitia si
uede per australe la bell'isola 2 di Cipri,
la qual fu regnio della dea Venere, e
molti incitati dalla sua bellezza 3 anno
rotte le loro navili e sarte infra li scogli
circundati dalle vertiginose ode; 4 quiui la
bellezza del dolce colle invita i vagabundi
navicanti a re^crearsi infra le sue fiorite
verdure, fralle quali i ueti ragioradosi en-
piono I'i 6 sola e '1 circustante mare di suaui
odori; o quate naui quiui gia son sommerse!
o quanti ^ navili rotti negli scogli ! quiui si po-
trebbero vedere invmerabili navili; chierotto
e mezzo 8 coperto dall' arena, chi si mostra da
poppa, e chi da prua, chi da carena e chi
da costa, e para 9 a similitudine d'ungiudi-
zio, chevoglia risuscitare navili morti; tant'e
la somma di quelli, die I0 copre tutto il lito
settentrionale; quiui i uenti d'aquilone
resonado fan uari e paurosi "soniti.

From the shore of the Southern coast of The Caspian
Cilicia may be seen to the South the beau- (lI05 Se f Io6) _
tiful island of Cyprus, which was the realm
of the goddess Venus, and many navigators
being attracted by her beauty, had their ships
and rigging broken amidst the reefs, sur-
rounded by the whirling waters. Here the
beauty of delightful hills tempts wande-
ring mariners to refresh themselves amidst
their flowery verdure, where the winds
are tempered and fill the island and the
surrounding seas with fragrant odours. Ah!
how many a ship has here been sunk.
Ah! how many a vessel broken on these
rocks. Here might be seen barks without
number, some wrecked and half covered
by the sand; others showing the poop and
another the prow, here a keel and there the
ribs; and it seems like a day of judgment
when there should be a resurrection of dead
ships, so great is the number of them co-
vering all the Northern shore ; and while the
North gale makes various and fearful noises
there.

C. A. 256*; 773 a] IIO5

Scriui a Bartolomeo turco del flusso e
2 riflusso del mar di Ponto, e che intenda,
3se tal flusso e riflusso e nel Mare Ircano
4 over Mare Caspio.

Write to Bartolomeo the Turk as to the
flow and ebb of the Black sea, and whether
he is aware if there be such a flow and ebb
in the Hyrcanean or Caspian sea.

4. vada lacque in diuersi [5] vasi . . esspa. 3. attal . .si lago. 6. mezo . . testa a pilastri . . uasi a pie. 7. sparga picholi
riuetti. 8. dalla riuiera [di lie di cilitia] "jpartendosi. 9. cilitia [si scopr] inver meridio si co. 10. beleza . . cipri la qua.

1104. i. dalla riuiera dalli. 2. della sa belleza. 3. an rotte lor navili essarte . . delle ruertinali ode. 4. belleza del del dolce
callo invita [invita] i. 5. infralle . . fral . . enpiano. 6. adori . . ga son somerse. 7. roti nelgli . . potrebe . . roto e mezo
8. arena [altri] chissi . . popa . . charena e qui. 9. assimilitudine dun giudizi che volglia risucitare nvavili . . tantella
soma. io. varie. n. chopre . . settantironale [sopra] quiui e uenti . . pauro.

1105. i. turcho . . frusso. 2. refrusso. 3. settal frusso e refrusso. 4. casspio.

assuming that the text and this sketch, which have

no connection with each other, are of the same date.

Sito di Venere. By this heading Leonardo appears

to mean Cyprus, which was always considered by

the ancients to be the home and birth place of
Aphrodite (KOnpi; in Homer).

1105. The handwriting of this note points to a
late date.

268

TOPOGRAPHICAL NOTES.

[II06II08.

F. y>\

1106.

L'ACQUA *E IN su MO'TI.

+ Dallo stretto di Gibilterra al Tanai e
migli s a 3500, ede alto vn miglio e x /6, dando
vn braccio 6 per miglio di cala a ogni acqua
che si move me 7 diocremete, e il Mar Caspio
e assai piu a! 8 to ; e nessu de' moti d' Europa
si leua vn 9 miglio sopra la pelle delli nostri
mari; adu I0 que si potrebbe dire, che T acqua
ch'e nelle "time de' nostri moti, venisse
dall'altezza d'essi I2 mari e de' fiumi che
vi versano, che so piu alti.

WHY WATER IS FOUND AT THE TOP OF
MOUNTAINS.

From the straits of Gibraltar to the Don
is 3500 miles, that is one mile and '/6>
giving a fall of one braccio in a mile to any
water that moves gently. The Caspian sea
is a great deal higher ; and none of the
mountains of Europe rise a mile above the
surface of our seas; therefore it might be
said that the water which is on the summits
of our mountains might come from the height
of those seas, and of the rivers which flow
into them, and which are still higher.

K. 68 (

1107.

Azov.

Qui seguita che '1 Mare della Tana, che
The sea of 2 con fi na col Tanai, e la piu alta parte 3 che
abbia il Mare Mediterrano, il qua 4 le e re-
moto dallo Stretto di Gibilterra 5 35OO mi-
glia, come mostra la carta da 6 nauicare;
e a di calo 3500 braccia, cioe uno ? miglio
e '/65 e e piu alto adunque que 8 sto mare
che mote che abbia 1'occidcte.

Hence it follows that the sea of Azov is
the highest part of the Mediterranean sea,
being at a distance of 3500 miles from the
Straits of Gibraltar, as is shown by the map
for navigation; and it has 3500 braccia of
descent, that is, one mile and */6j therefore
it is higher than any mountains which exist
in the West.

Leic. -,i

1108.

In nello stretto di Tratia il Mare di
The P6 2 to senpre versa nel Mare Egeo, e mai
:s 'l'Egeo in lui, e questo diriua, che '1 Mare
Caspio, che co 400 miglia sta per leuate
colli 3 fiumi che I lui versano, senpre versa
per cave sotterrane in esso Mar di Poto,
e '1 simile fa il Tanai *co\ Danvbio, in
modo che senpre esse acque Potiche son
piv alte che quelle dello Egeo, s e per cio
le piv alte senpre discendono nelle basse,
e no mai le basse nelle alte.

In the Bosphorus the Black Sea flows always
into the Egean sea, and the Egean sea never
flows into it. And this is because the Caspian,
which is 400 miles to the East, with the rivers
which pour into it, always flows through sub-
terranean caves into this sea of Pontus; and
the Don does the same as well as the Da-
nube, so that the waters of Pontus are always
higher than those of the Egean; for the
higher always fall towards the lower, and
never the lower towards the higher.

1106. i. lacq"a". 5. 3500006 on miglio . . vn br. 6. acq"a" chessi. 7. e mar casspio. 9. pele. 10 chellacqua. n. venissi
. . nlteza. 12. vivsano.

1107. 2. clla. 3. mediterano. 5. mosstra. 6. navicare che . . 3500 br. coe t. 7. e '/e etc e piu.

1108. 2. ccquesto . . caspio "che co [3] 400 (?) mili sta per leuate" colli. 3. cave socterrane. 4. danvbbio . . chessenpre.
5. perco le . . dissedano.

1107.
general.

The passage before this, in the original, treats of the exit of the waters from Lakes in

THE LEVANT.

269

L. 66 a]

nog.

Ponte da Pera a Costantinopoli largo The bridge of Pera at Constantinople, Constan-

2 40 braccia, alto dall'acqua braccia 70, 40 braccia wide, 70 braccia high above the tmople -

lungo 3 braccia 600, cioe 400 sopra del
mare, e 200 4 posa in terra, faciendo di se
spalle a se Smedesimo.

water, 600 braccia long; that is 400 over
the sea and 200 on the land, thus making
its own abutments.

Leic. 28 a]

IIIO.

Se si voltera il fiu 2 me alia rottura piv
3 inati, mai ritorne^ra nel corpo della 5 terra,
come fa 1' Eu 6 frates fiume, e co?sl faccia, a
chi a Bo 8 lognia rlcresce Ii 9sua fiumi.

If the river will turn to the rift farther T he
on it will never return to its bed, as the
Euphrates does, and this may do at Bologna
the one who is disappointed for his rivers.

C. A. 94 ; 276(1]

mi.

Mons Caucasus Comedorum e Paro-
panisi insieme cogivti, 2 che tra Batriana e
India nascono Oxus fiume , che in essi moti
nascie 3e corre 500 miglia a tramotana e
altrettate a ponete e versa le sue acque
nel Mare Ircano * e co seco s' accopagnia
Osus , Daagodos , Arthamis , Xariaspis,
Dragamaim , Ocus , Margus, s fi um i gra-
dissimi; dall' opposita parte uerso mezzodl
nasce jl gra fiume Indo il quale di 6 rizza
le sue ode per 600 miglia inverse meridio,
e per questa linia s' accopagnia co seco i
fiumi Xaradrus , Bibasis , ? Vadris , Vanda-
bal , Bislaspus per leuate , Suastus e Coe
per ponete -, e incorporati tali fiumi colle
8 sue acque si uolta corredo miglia 800 per
ponete , e ribattedosi ne' Moti Arbeti uno
gomito, e' si volta 9 a mezzodl, per la quale
linia -infra 500 miglia truova il mare d'ln-

Mounts Caucasus, Comedorum, and Paro-
pemisidae are joined together between Bactria
and India, and give birth to the river Oxus
which takes its rise in these mountains and
flows 500 miles towards the North and as
many towards the West, and discharges its
waters into the Caspian sea; and is accom-
panied by the Oxus, Dargados, Arthamis, Xari-
aspes, Dargamaim, Ocus and Margus, all very
large rivers. From the opposite side towards
the South rises the great river Indus which
sends its waters for 600 miles Southwards
and receives as tributaries in this course the
rivers Xaradrus, Hyphasis, Vadris, Vandabal
Bislaspus to the East, Suastes and Coe to
the West, uniting with these rivers, and with
their waters it flows 800 miles to the West;
then, turning back by the Arbiti mountains
makes an elbow and turns Southwards, where

Centrae
Asia.

nog. i. gostar.tinopoli. 2. 40 br . . br. 70. 3. br. 600 coe. 4. spalle asse.

mi. i. mo caucassus comedoru. 2. nasscano [oduss] oxus . . nasscie. 3. e chSsecho sacopagnia. 4. attramotana. 5. dallo-
posita parte [nass] uer mezodi nasscie. 6. riza . . inver . . sachopagnia. 7. biilasspus . . suasstus hecoe per . . incho-
porate. 8. chorrendo . . arbeti [assalij i gomito. 9. mezodi . . somergie. 10. nasscie. ii. mezodi. 12. sscirocho . . he
13. sarabas diaravna (?) e so as esscilo. 14. mare | "indo" per molte boche.

1109. See PI. CX No. i. In 1453 by order of
Sultan Mohamed II. the Golden Horn was crossed
by a pontoon bridge laid on barrels (see Joh. Dukas'
History of the Byzantine Empire XXXVIII p. 279).
The biographers of Michelangelo, Vasari as well
as Condivi, relate that at the time when Michel-
angelo suddenly left Rome, in 1506, he entertained
some intention of going to Constantinople, there to
serve the Sultan, who sought to engage him, by
means of certain Franciscan Monks, for the purpose
of constructing a bridge to connect Constantinople
with Pera. See VASARI, Vite (ed. Sansoni VII, 168):
Michelangelo, veduto questa furia del papa, dubitando di
lui, ebbe, secondo che si dice, voglia di andarsene in
Gostantinopoli a servire il Turco, per mezzo di certi frati

di San Francesco, che desiderata averlo per fare un ponte
che passassi da Gonstantinopoli a Pera. And CONDIVI,
Vita di M. Buonaroti chap. 30: Michelangelo allora
vedendosi condotto a questo, temendo delPira del papa,
pensd d'andarsene in Levante; massimamente essendo
stato dal Turco ricercato con grandissime promesse per
mezzo di certi frati di San Francesco, per volersene servire
in fare un ponte da Costantinopoli a Pera ed in altri
affari. Leonardo's plan for this bridge was made
in 1502. We may therefore conclude that at about
that time the Sultan Bajazet II. had either announced
a competition in this matter, or that through his
agents Leonardo had first been called upon to carry
out the scheme.

270

TOPOGRAPHICAL NOTES.

[III2.

dia doue per sette rami in quello si som-

mergie.

lo Neiraspetto del medesimo mote nascie
il magnio "Gagie, il quale fiume corre per
mezzodl miglia 500 I2 e per scirocco mille
e Sarabas Diarnvna e Soas ^e Scilo-
Codranvnda li fano copagnia ; ^ versa in
mare Indo per molte bocche.

after a course of about 100 miles it finds the
Indian Sea, in which it pours itself by seven
branches. On the side of the same mountains
rises the great Ganges, which river flows
Southwards for 500 miles and to the South-
west a thousand . . . and Sarabas, Diarnuna,
Soas and Scilo, Condranunda are its tributaries.
It flows into the Indian sea by many mouths.

C. A. 384*; 1189*1

Li omini nati in 'paesi caldi
9n the amano 3 la notte, perche li rifre^sca,

natives of hot . . ..

countries. e an o in odio la 5 luce, perche h n-
sca! 6 da, e per6 sono del cohere della
notte cio 8 e neri | e ne' paesi sfreddi
ogni cosa e 10 per 1' opposite.

III2.

Men born in hot countries love
the night because it refreshes them and
have a horror of light because it burns
them; and therefore they are of the
colour of night, that is black. And in
cold countries it is just the contrary.

ma. 2. chaldi amaftg. 3. perche le. 6. perosino. 9. cosa he.

ni2. The sketch here inserted is in MS. H3 55 ''.

XVIII.

Naval Warfare. Mechanical Appliances. Music.

Such theoretical questions, as have been laid before the reader in Sections XVI
and XVII, though they were the chief subjects of Leonardo's studies of the sea, did not
exclusively claim his attention. A few passages have been collected at the beginning of
this section, which prove that he had turned his mind to the practical problems of
navigation, and more especially of naval warfare. What we know for certain of his
life gives us no data, it is true, as to when or where these matters came under his
consideration', but the fact remains certain both from tJiese notes in his manuscripts, and
from the well known letter to Ludovico il Moro (No. 1340), in which he expressly states
that he is as capable as any man, in this very department.

The numerous notes as to the laws and rationale of the flight of birds, are scattered
through several note-books. An account of these is given in the Bibliography of the
manuscripts at the end of this work. It seems, probable that the idea which led him
to these investigations was his desire to construct a flying or aerial machine for man^
At the same time it must be admitted that the notes on the two subjects are quite
unconnected in the manuscripts, and that those on the flight of birds are by far the
most numerous and extensive. The two most important passages that treat of the
construction of a flying machine are those already published as Tav. XVI, No. I and
Tav. XVIII in the "Saggio delle opere di Leonardo da Vinci" (Milan 1872;. The
passages Nos. 1 120 1 125 here printed for the first time and hitherto unknown refer
to the same subject and, with the exception of one already published in the Saggio
No. 1126 they are, so far as I know, the only notes, among the numerous observations
on the flight of birds, in which the phenomena are incidentally and expressly connected
with the idea of a flying machine.

The notes on machines of war, the construction of fortifications, and similar matters
which fall within the department of the Engineer, have not been included in this work,
for the reasons given on page 26 of this Vol. An exception has been made in favour of the
passages Nos. 1127 a>id 1128, because they have a more general interest, as bearing on

2 - 2 NAVAL WARFARE. MUSIC.

the important question: whence the Master derived his knowledge of these matters.
Though it would be rash to assert that Leonardo was the first to introduce the science
of mining into Italy, if may be confidently said that he is one of the earliest writers
who can be proved to have known and understood it; while, on the other hand, if is
almost beyond doubt that in the East at that time, the whole science of besieging towns
and mining in particular, was far more advanced than in Europe. This gives a peculiar
value to the expressions used in No. 1127.

/ have been unable to find in the manuscripts any passage wJiatever which throws
any light on Leonardo's great reputation as a musician. Nothing therein illustrates
VAS ART'S well-known statement: Avvenne che morto Giovan Galeazzo duca di Milano,
e create Lodovico Sforza nel grado medesimo anno 1494, fu condotto a Milano con
gran riputazione Lionardo al duca, il quale molto si dilettava del suono della lira,
perche sonasse; e Lionardo porto quello strumento ch'egli aveva di sua mano fabbricato
d'argento gran parte, in forma d'un teschio di cavallo, cosa bizzarra e nuova, acciocche
1'armonia fosse con maggior tuba e piu sonora di voce; laonde super6 tutti i musici
che quivi erano concorsi a sonare.

The only notes on musical matters are those given as Nos. 1129 and 1130, wJiicJi
explain certain arrangements in instruments.

G. 54 ]

"IS-

DEL MOTO DEL MOBILE, 2 DEL COGNOSCERE

QUATO 3iL NAVILIO SI MOVE PER ORA.

4 Anno li nostri antichi vsato diuersi in-
Sgiegni per vedere che viaggio faccia v
navilio per ci 6 ascuna ora, infra li quali Vi-
truvio ne po 7 ne vno nella sua opera d'Ar-
chitettura, il qua 8 le modo e fallace insieme
cogli altri ; e que^sto e vna rota da mulino
tocca dall'onde I0 marine nelle sue stremita,
e mediante le "intere sue revolutioni si
descrive vna linia I2 retta che rappresenta
la linia circufere^tiale di tal rota ridotta
in rettitudine; ^Ma questa tale inventione
non e valida, T 5se no nelle superfitie piane
e immobili de' l6 laghi; Ma se 1'acqua si
move insieme col ^navilio con equal moto,
allora tal rota re l8 sta inmobile, e se 1'acqua
e di moto piu o me ^velocie che '1 moto
del nauilio, ancora tal ro 20 ta non a moto
equate a quel del navilio, in 2I modo che
tale inventione e di poca valitudine; "Ecco
vn altro modo fatto colla sperietia d'uno
2 3spatio noto da una isola a vn altra, e
questo si 2 * fa con un asse o lieua percossa
dal ueto, che la percuote o piu o 2 5men
velocie, e questo e in Battista Alberti;

ON MOVEMENTS; TO KNOW HOW MUCH A
SHIP ADVANCES IN AN HOUR.

The ancients used various devices to The ship's
ascertain the distance gone by a ship each ^^ "J v f i-
hour, among which Vitruvius [6] gives one Alberti 'and
in his work on Architecture which is just as ofLeonardo
fallacious as all the others; and this is a ,
mill wheel which touches the waves of the
sea at one end and in each complete revolu-
tion describes a straight line which represents
the circumference of the wheel extended to a
straightness. But this invention is of no
worth excepting on the smooth and motion-
less surface of lakes. But if the water
moves together with the ship at an equal
rate, then the wheel remains motionless;
and if the motion of the water is more or
less rapid than that of the ship, then nei-
ther has the wheel the same motion as the ship
so that this invention is of but little use.
There is another method tried by experiment
with a known distance between one island
and another; and this is done by a board or
under the pressure of wind which strikes on
it with more or less swiftness. This is in
Battista Alberti [2 5].

1113. 2. cogniossciere. 4. nosstri. 6. asscuna . . infralli . . vetruvio. 7. darchitectura. 8. effallacie . . ecque. 9. tocha dallonde.
ii. desscrive. 12. circhufere. 13. diridotta. 14. Macquessta. 15. inmobile. 16. Massellacqua. 17. rota res. 18. essellacqua.
19. anchora. 20. nona . . acquel. 21. chettale . . pocha. 22. Ecci . . cholla. 23. ecquesto. 24. fa vasse lieva perchossa
. . chella perchote eppiuo. 25. ecquesto . . balissta abrti. 26. batissta. 27. albertiche effat. 28. lassperi. 31. issola.

1113. 6. See VlTRUVlus, De Architecture/, lib. X.
C. 14 (p. 264 in the edition of Rose and Miiller-
Strubing). The German edition published at Bale in
1543 na s, on fol. 596, an illustration of the con-
trivance, as described by Vitruvius.

25. LEON BATTISTA ALBERTI, De Architedura lib. V.,
c. 12 treats 'de le navi e parti loro\ but there is no

VOL. U.

reference to the machine, mentioned by Leonardo.
Alberti says here : Noi abbiamo trattato lungamente in
altro hiogo de 1 modi de le navi, ma in questo luogo ne
abbiamo detto quel tanto che si bisogna. To this the
following note is added in the most recent Italian
edition: Questo libra e tuttora inedito e porta il tilolo,
secondo Gesnero di 'Liber navis'.

274

ON MOVING IN WATER.

6 I1 modo di Battista 2 ?Alberti e
fat'Ho sopra la speri'sentia d'uno spa3tio
noto da vn-'a isola a un altra; 3 2 Ma tale
inventi'tone no riesce, 34 se no a vn navi-
3Slio simile a quel J 6 dove e fatto tale 37spe-
rictia, ma ^bisognia che sia j^col medesimo
<carico, e me^'desima vela, 42 e medesima
situ^atio di vela, e ^medesime gradezze
d'onde; ma ^ 6 il mio modo ser?ve a ogni
navi1io, si di remi co 49 me vela, e sia pi-
sccolo o grade, 5o lugo e alto, 52 o basso,
sepre serve.

Battista Alberti's method which is made
by experiment on a known distance between
one island and another. But such an inven-
tion does not succeed excepting on a ship
like the one on which the experiment was
made, and it must be of the same burden
and have the same sails, and the sails in the
same places, and the size of the waves must be
the same. But my method will serve for any
ship, whether with oars or sails; and whether
it be small or large, broad or long, or high
or low, it always serves [52].

Leic. 22 1]

III4.

Come con otricoli 1'esercito debbe pas-
Methodi of'sare i fiumi a noto; ... Del modo del
'movlrf *in d notare de' pesci ; del modo 3 del lor saltare
water fori delle acque, come far si uede a delfini,
che par cosa marauigliosa for*mare salto
sopra la cosa che non aspetta, anzi si
fugge; Del notare delli animali di luSga
figura, come anguille e simili; Del modo
del notar contro alle cored e gra 6 cadute
de' fiumi; Del modo come notino li pesci
di retoda figura; Come li animali 7 che non
anno lunga fessa non sa notare; Come
tutti li altri animali naturalmente sa 8 no
notare , auendo li piedi colle dita, saluo
che 1'omo; In che modo I'omo debbe in-
para're a notare; Del modo del riposarsi
sopra delle acque; Come I'omo si debbe
difen I0 dere dalle revertigini over retrosi
delle acque che lo tirano in fondo; Come
I'omo ti :i rato in fondo abbia a cercare
del moto riflesso, che lo gitti fori della
profondita; Co I2 me si debe passeggiare
colle braccia ; come si debbe notare river-,
scio; Come, e come non ^si puo star sotto
1' acque-, se non quando si puo ritenere lo
alitare; Come molti stie I4 no con istrumeto
alquato sotto 1' acque; Come e perche io
non scrivo il mio modo di I5 star sotto
1'acqua, quato io posso star sanza man-
giare, e questo no publico o diuolgo per
le ma l0 le nature delli omini, Ji quali vse-
rebbero li assasinameti ne' fondi de' mari

How an army ought to cross rivers by
swimming with air-bags . . . How fishes
swim [2] ; of the way in which they jump
out of the water, as may be seen with
dolphins; and it seems a wonderful thing
to make a leap from a thing which does not
resist but slips away. Of the swimming of
animals of a long form, such as eels and
the like. Of the mode of swimming against
currents and in the rapid falls of rivers. Of
the mode of swimming of fishes of a round
form. How it is that animals which have not
long hind quartres cannot swim. How it is that
all other animals which have feet with toes,
know by nature how to swim, excepting man.
In what way man ought to learn to swim.
Of the way in which man may rest on the
water. How man may protect himself
against whirlpools or eddies in the water,
which drag him down. How a man dragged
to the bottom must seek the reflux which
will throw him up from the depths. How
he ought to move his arms. How to swim
on his back. How he can and how he can-
not stay under water unless he can hold his
breath[i3]. How by means of a certain ma-
chine many people may stay some time under
water. How and why I do not describe my
method of remaining under water, or how
long I can stay without eating; and I do not
publish nor divulge these by reason of the
evil nature of men who would use them as

32. Mattale. 33. riesscie. 35. acque]. 36. effatto. 37. essperietia. 38. chessia. 39. chol. 40. charicho. 45. dere . .
M"a". 47. a "o"gni. 48. cho. 49. essia. 50. c"j"colo ogrande star. 51. do ollugho. 52. obbasso.

1114. i. otricolli lessercito . . pa. 2. pessci. 3. adalfini. 4. fuge. 5. essimili De. 6. pessci. 7. nona. 8. colle chcllomo
riposarsi lomo sopra. io. delle revertigini. io. ctielli tirano. n. refresso . . che gitti. 12. passegare colle br . . Come
e non. 13. si postar . . quanto si po. 14. isscrivo. 15. qi ato tposso . . magare ecquesto. 16. vserebono. 17. son-

52. Leonardo does not reveal the method in-
vented by him.

1114. 2. Compare No. 821.

1.. 13 19 will also be found in Vol. I No. i.

NAVAL WARFARE.

2/5

col ronpere I7 i navili in fondo, e sommer-
gierli insieme colli omini che ui son dentro,
e beche io insegni l8 delli altri, quelli no
son di pericolo, perche di sopra all'acqua
apparisce la bocca della canna, 'S
alitano, posta sopra li otri o sughero.

means of destruction at the bottom of the. sea,
by sending ships to the bottom, and sinking
them together with the men in them. And
although I will impart others, there is no
danger in them; because the mouth of the
tube, by which you breathe, is above the
water supported on bags or corks [19].

Ash. II. 4 6]

Se sara in pugnia naui e galee , es-
sendo vincitori le naui per le loro alte
gaggie, 2 si de' tirare 1' antena -per Isino
quasi alia sommita
dell'albero, 3 e abbi
nella stremita di detta
atena, cioe quella ch' e
sporta sopra * il nemi-
co, appiccato va gag-
gietta fasciata, e di
sotto e ditorno uno
5 grosso materasso
pieno di babagia, ac-

Supposing in a battle between ships and On naval
galleys that the ships are victorious by reason ( Ir ^ s arf iii 6 )
of the high of their tops, you must haul the yard
up almost to the top
of the mast, and at
the extremity of the
yard, that is the end
which is turned tow T
ards the enemy, have
a small cage fastened,
wrapped up below and
all round in a great
mattress full of cotton

cio no sia offesa dalle bobardelle, 6 poi tira
col'argano 1 basso 1'opposita parte d'fessa
antena, e la gaggia 7 O pposita andra tato

in alto , ch' ella di gra luga avazera la
gaggia de! 8 la nave, e potrassi facilmete
cacciare li omini che detro ui sono; 9 ma
bisognia che gli omini che sono nella galea

vadino dall'opposita banda, I0 accio-fac-
cino contrapeso al carico delli omini posti
detro alia gaggia "della antena.

so that 'it may not be injured by the bombs;
then, with the capstan, haul down the oppo-
site end of this yard and the top on the oppo-
site side will go up so high , that it will be far
above the round-top of the ship, and you will
easily drive out the men that are in it. But
it is necessary that the men who are in the
galley should go to the opposite side of it so
as to afford a counterpoise to the weight of
the men placed inside the cage on the yard.

mergierli . . ebece. 18. aparissce la bocha. 19. ossugero.

1115. i. sara . . gagie. 2. si de [mettere] tirare . . somita. 3. abi . . Itena . . che [apichata] sporta. 4. apichato va gagietta
fassciatta . . dltoruo dino. 6. chol . . ella gagia. 7. oposita andera . . gagia de. 8. chaciare. 9. chessono . . ghalea . -
daloposita. io. chontrapeso . . charicho . . gagia. n. antena.

NAVAL WARFARE.

[Hl6

Ah. II. 6]

1116.

Se vuoli fare vna armata marittima, vsa
di questi navili per sfondareUe navi, 2 cio6
fa navili di 100 pie, e larghi piedi 8, ma
fa che i remi sinistri abino i loro
nel lato destro del na-
vilio, e cosl i destri nel
sinistro come appare in
M, accioch& lo lieve de'
remi *sia piv lugo , e
detto navilio sia grosso
pie uno e l / 2 - cio6 fatto

If you want to build an armada for the
sea employ these ships to ram in the enemy's
ships. That is, make ships 100 feet long
and 8 feet wide, but arranged so that the
left hand rowers may t have
their oars to the right side
of the ship, and the right
hand ones to the left side,
as is shown at M, so that
the leverage of the oars
may be longer. And the

di travi fermi di 5 fuori e di detro con asse
con cotrari liniameti; e questo navilio avra,

said'ship may be one foot and a half thick, that
is made with cross beams within and without,

sotto 6 l'acqua vn piede, appiccato vno
sputone ferrato di peso e grossezza d'un

with planks in' contrary directions. And this
ship must have attached to it, a foot below the

'n6. J. isfondare. a. cheremi . . ilor. 3. nelato". . sinistro "come apare in M" aciochelo. 4. sieno piv luge . . pie 1 e . .
facto di trav ferm. 5. fori . . chon asse cho cotrari . . navilio avc sotto. 6. lacq"a" vn piedi apuchato . . feralo adi

Ill/ 1119.]

ON SWIMMING.

277

acudi 7 ne e questo per forza di remi potra,
dato il primo colpo, tornare idirietro, 8 e
co furia ricacciarsi inati e dare il colpo
secodo, e poi il terzo, e tati che ropa
detto navilio.

water, an iron-shod spike of about the weight
and size of an anvil; and this, by force of
oars may, after it has given the first blow, be
drawn back, and driven forward again with
fury give a second blow, and then a third,
and so many as to destroy the other ship.

B. 8i<5]

MODO DI SALUARSI IN VNA TEPESTA E
NAVFRAGIO MARITTIMO.

III7-

Bisognia avere va vesta 2 di corame
ch'abbi doppio i labri del petto per spatio
d' vno dito, e cosl sia doppio 3 dalla citura
Tsino al ginocchio ,
e sia corame si euro
dallo esalare ; E
quado 4 bisognasse
saltare I mare , sgo-
fia per li labri del
petto le code del
tuo vestito, s e salta
in mare , e lasciati
guidare all' onde ;
quado no vedi vi-
cina riva, 6 ne abbi
notitia del mare , e

ti ni sempre I bocca la canna dell' aria che
va nel vestito, ?e quado per una volta o
2 ti bisognasse trare dell' aria comvne, e
la schiuma t'inpedisce, 8 tira per bocca di
quella del vestito.

A METHOD OF ESCAPING IN A TEMPEST AND
SHIPWRECK AT SEA.

Have a coat made of leather, which must The use of
be double across the breast, that is having a SW bS!" s
hem on each side of about a finger breadth.
Thus it will be double
from the waist to
the knee; and the
leather must be quite
air-tight. When you
want to leap into the
sea, blow out the
skirt of your coat
through the double
hems of the breast;
and jump into the sea,
and allow yourself
to be carried by the

waves; when you see no shore near, give
your attention to the sea you are in, and
always keep in your mouth the air-tube which
leads down into the coat; and if now and
again you require to take a breath of fresh
air, and the foam 'prevents you, you may
draw a breath of the air within the coat.

s. K. M. m. 25

1118.

Se '1 mare si pesa sul suo fondo, 2 vn
omo, che giacesse sopra esso 3 fondo e
avesse 1000 braccia d' acqua 4 a dosso,
n'avrebbe a scoppiare.

If the weight of the sea bears on its bottom, On the
a man, lying on that bottom and having v ^ te |
1000 braccia of water on his back, would
have enough to crush him.

C. A. 7 a; 19 a]

D'andar sotto acqua;

2 Modo di caminare 3 sopra 1' acqua.

1119.

Of walking under water.
Method of walking on water.

Diving appa-
ratus ;md
Skating
(11191121).

peso . . grosseza. 7. ecquesto . . forza adi remi . . Tdirieto. 8. richaciarsi.

1117. 2. dopio . ."peto perispatio dono . . dopio. 3. aginochio essiasicuro dello. 4. biscognassi . . schofia. 5. essalta imare ellassciati . .
visina. 6. abi . . ettieni . . bocha la cana. 7. per I . . bisognassi trare dellaria partly indistinct i sciuma tlpedissi. 8. boca.

1118. 2. diaciessi. 3. avessi 1000 br dacu 4 asscopiare. ing. 2. chomin. 3. sop acq"a".

1117. AMORETTI, Memorie Storiche, Tav. II. B.
Fig. 5, gives the same figure, somewhat altered.
6. La canna del? aria. Compare Vol. I. No. I. Note.

ing. The two sketches belonging to this passage
are given by AMORETTI, Memorie Storiche. Tav. II,
Fig. 3 and 4.

278

ON FLYING MACHINES.

[II20II23.

Aih. II.

1120.

Siccome per lo fivme ghiacciato uno omo
corre 2 sanza mvtatione di piedi , cosl vn
carro fia 'possibile fare che corra per se

Just as on a frozen river a man may run
without moving his feet, so a car might be
made that would slide by itself.

s. K. M. in. 46*1

II2I.

Definitione perch vno 2 che sdrucciola
sopra il ghiaccio 3 no cade.

A definition as to why a man who slides
on ice does not fall.

On Flying

machines

(i 122 1126)

Mz. 3 a (6)J

L'uomo ne' volatili a a stare libero
dalla cintura insu 2 per potersi bili-
care > come fa in barca accid che '1
ce^tro della grauita di lui e dello
strumeto si possa ^bilicare e trasmu-
tarsi, dove necessita il dimada salla
mutatione del centre della sua resi-
stetia.

1122.

Man when flying must stand free
from the waist upwards so as to be able
to balance himself as he does in a boat
so that the centre of gravity in him-
self and in the machine may counter-
balance each other, and be shifted as
necessity demands for the changes of
its centre of resistance.

Mz. i2<i (16)]

1123.

Ricordati siccomejl tuo vccello non debbe
imitare 2 altro che '1 pipistrello per cavsa che
i pannicoli fano 3armadura over collegatione
alle armadure, cioe ma 4 estre delle ali;

Remember that your flying machine must
imitate no other than the bat, because the
web is what by its union gives the armour,
or strength to the wings.

5E se tu imitassi Palie delli vccelli pen-
nvti, esse 6 son di piv potete nervatura, per
essere esse 7 traforate cioe che le lor penne
so disunite e passa 8 te dall'aria; Ma il pipi-
strello e aivtato dal pannisculo che lega il
tutto, e non e traforato.

If you imitate the wings of feathered
birds, you will find a much stronger structure,
because they are pervious; that is, their feathers
are separate and the air passes through them.
But the bat is aided by the web that connects
the whole and is not pervious.

iiao. i. sichome . . diacciato 1 omo core. z. chosi vn charo. 3. possiuile. 3. chora.
1131. i. definition. 2. strusi . . diaccio.

nw. i. volatili asstare. 2. barcha. 4. bilichare e strassmutarsi. 5. ressistetia.

1133. ' sichome. 2. pipisstrello . . chavsa che panichuli. 3. chollcgacione . . coe. 4. esstre . . alie. 5. essettu. 6. enervatura
* 7. coe chelle . . eppassa. 9. chulo chellega.

1120. The drawings of carts by the side of this ziai. An indistinct sketch accompanies the pas-

text have no direct connection with the problem as sage, in the original,
stated in words. Compare No. 1448, 1. 17.

1124 1 1 26.]

ON FLYING MACHINES.

279

Mz. 9* ('3)1

1124.

PER FUGIRE IL PERICOLO DELLA RUINA.

2 Puo accadere la ruina di tali strumeti
per 2 modi, de' quali 3il primo e del
ronpersi lo strumeto, secondario fia qua^do
lo strumento si uoltasse per taglio o vicino
a esso taglio, Sperche senpre debbe di-
scendere per grande obbliquita e quasi
6 per la linia dell'equalita; In quanto al
primo, 7 del ronpersi lo strumeto, si ripa-
rera col farlo di somma for 8 tezza, per
qualunche linia esso si potesse voltare, e
assai distante 1'un centro dall'altro, cioe
ne! 9 lo strumeto di 30 braccia di lunghezza
essi centri sieno distanti 4 braccia 1'un
dall'altro.

TO ESCAPE THE PERIL OF DESTRUCTION.

Destruction to such a machine may occur
in two ways ; of which the first is the breaking
of the machine. The second would be when
the machine should turn on its edge or nearly on
its edge, because it ought always to descend
in a highly oblique direction, and almost
exactly balanced on its centre. As regards
the first the breaking of the machine ,that
may be prevented by making it as strong as
possible ; and in whichever direction it may
tend to turn over, one centre must be very
far from the other; that is, in a machine 30
braccia long the centres must be 4 braccia
one from the other.

Mz. 13 a\

1125.

Baghe dove 1'omo in 6 braccia 2 d'al-
tezza cadendo no si fac-
cia male, 3 cadendo cosl
in acqua come 4 in terra;
e queste baghe leSgate
a vso di paternostri s' avvo! 6 gino altrui ad-
dosso.

Bags by which a man falling from a height
of 6 braccia may avoid
hurting himself, by a fall
whether into water or on
the ground; and these

bags , strung together like a rosary, are to

be fixed on one's back.

C. A. 37 25; 1158 ]

1126.

Tata forza si fa colla cosa icotro al-
1'aria, quato 1'aria alia cosa; 2 Vedi 1'alie
percosse cotro all' aria fanno sostenere la
pesante aquila sulla suprema sottile aria 3vi-
cina all'elemeto del fuoco; Ancora vedi la
mossa aria sopr'al mare ripercossa 4 nelle
gofiate vele far correr la carica e pesate
nave; siche per queste demostrastive e as-
segnate ragioni potrai conosciere 1'uomo
colle sua cogiegniate e gradi ale, 6 facciedo
forza cotro alia resistete aria, vincedo po-
terla soggiogare a Ie 7 varsi sopra di lei.

An object offers as much resistance to
the air as the air does to the object. You
may see that the beating of its wings against
the air supports a heavy eagle in the
highest and rarest atmosphere, close to the
sphere of elemental fire. Again you may
see the air in motion over the sea, fill the
swelling sails and drive heavily laden ships.
From these instances, and the reasons
given, a man with wings large enough and
duly connected might learn to overcome the
resistance of the air, and by conquering it,
succeed in subjugating it and rising above it.

1124. i. pericholo. 2. achadere . . tale. 3. sechondario. 4. losstrumento si uoltassi. 4. vicico. 5. disscendere. 7. losstrumeto.
8. teza. 8. potessi . . disstante . . coe. 9. br di lungeza . . 4 br lii.

1125. i. 6 br. 2. dalteza . . facca. 3. chedendo. 4. ecque,te. 5. paternosstri savol. 6. glino . . adosso.

1126. i. [vo] tata . . cholla chosa I chotro . . chosa. 2. perchosse chotro . . fassosstenere . . sulla "suplema" sottile. 3. fuocho
Anchora . . riperchossa. 4. ghofiate . . chorrer la charicha . . qsste [asse] demosstra. 5. chonossciere . . cholle . . cho-
giegniate. 6. chotro . . resisstete aria [potersi e] e vincedo poterla sogiogare alle.

1124. Compare No. 1428.

1126. A parachute is here sketched, with
an explanatory remark. It is reproduced on
Tav. XVI in the Saggio, and in : Leonardo da Vinci

ah Ingenieur etc., Ein Beitrag zur Geschichte der
Technik und der indiiktiven Wissenschaften , von Dr.
Hermann Groihe, Berlin 1874, p. 50.

280

ON MINING.

[1127. 1128.

Of mining.

Ash. II. 4")

1127.

Se tu vuoi sapere doue una caua
faccia suo corso, metti vno taburo 2 in tutti
quelli lochi, dove tu sospetti si facci la
cava , e sopra detto tabu^ro metti vno
pajo di dadi -, e quado sarai apresso al
loco dove si caua, i dadi risalneranno
alquato sopra del taburo per lo colpo che
si da sotto terra nel cavare.

If you want to know where a mine runs,
place a drum over all the places where you
suspect that it is being made, and upon this
drum put a couple of dice, and when you
are over the spot where they are mining, the
dice will jump a little on the drum at every
blow which is given underground in the
mining.

s5^

sSono alcuni che per auere comodita
d'u fiume o di padule 6 alle lor terre, anno
fatto apresso di quel loco, doue sospettano
si faccia 7 la cava, vno gra riserbo d'aqua,
e cauato in cotra il nemi 8 co e, quel tro-
uato, anno sboccato il bottino e annegato
nella 9 cava gra popolo.

There are persons who, having the con-
venience of a river or a lake in their lands,
have made, close to the place where they
suspect that a mine is being made, a great
reservoir of water, and have countermined
the enemy, and having found them, have
turned the water upon them and destroyed a
great number in the mine.

Tr. 48)

FUOCO GRECO.

1128.

2 Tolli carbon di salcio, e sale nitro, e
or Greek acquavite , e sulfore , 3 pegola con icieso,
e cafora, e lana etiopica e fa bollire ogni
cosa isieme ; questo fuoco e di tanto desi-

fire.

GREEK FIRE.

Take charcoal of willow, and saltpetre,
and sulphuric acid, and sulphur, and pitch,
with frankincense and camphor, and Ethiopian
wool, and boil them all together. This

1197. i. settu vuoli . . * cha faccia . . chorso. a. tussosspetti . . essopra. 3. vno pa di. 4. terano . . chessi da . . tera. $. cho-

modita. 6. tere . . facci. 7. riserbo daq"a" e chauato. 8. ano isboccato . . anegatti.
1138. T. fuocho grecho. 2. charbon di salco essale . . essulfore. 3. chafera elana etiopicha effa. 4. onichosa . . focbo . . dessi-

1 1 29.]

ON GREEK FIRE.

28l

derio di bruSciare, che seguita il legniame
sin sotto 1'acque; 6 e se aggivgnierai in
essa conpositione vernice liquida, ?e olio
petrolio, e tremetina, e acieto forte,
mischia 8 ogni cosa isieme, e secca al sole
o nel forno quado n'e trat^to'l pane, e
poi volta intorno alia stoppa di canapa o
altra, I0 riduciedola in forma rotonda, e
ficcati da ogni pa IT rte i chiodi acutissi-
mi, solamete lascia I detta palla vn I2 buco
come razzo; poi la copri di colofonio e
di solfo;

13 Ancora questo foco appiccato in
sommita d'una lunga asta, J Ua quale
abbi uno braccio di puta di ferro
accio no sia bruciato da det I5 to foco,
e bono per evitare e proibire Ifra le
naui ostili, per I6 non essere sopra-
fatti _da Ipito;

I7 Acora gittati vasi di uetro pieni di
pegola sopra I8 li aversi navili, itendenti
li omini di quelli alia battaglia , ^e poi
gittato dirieto simili palle accese anno
poteza a brucia 20 re ogni navilio.

fire is so ready to burn that it clings to
the timbers even under water. And add
to this composition liquid varnish, and bitu-
minous oil, and turpentine and strong
vinegar, and mix all together and dry it in
the sun, or in an oven when the bread
is taken out; and then stick it round hempen
or other tow, moulding it into a round form,
and studding it all over with very sharp
nails. You must leave in this ball an
opening to serve as a fusee, and cover it
with rosin and sulphur.

Again, this fire, stuck at the top of
a long plank which has one braccio
length of the end pointed with iron
that it may not be burnt by the said
fire, is good for avoiding and keeping
off the ships, so as not to be over-
whelmed by their onset.
Again throw vessels of glass full of pitch
on to the enemy's ships when the men
in them are intent on the battle; and then by
throwing similar burning balls upon them you
have it in your power to burn all their ships.

Br.

II2Q.

Tanburo di tacche, fregate 2 da rote di
molle ;

A drum with cogs working by wheels with O f Music
springs [2]. (" 2 9- "3)-

derio. 5. sare che seghuita ilegniame . . lacq"e". 6. esse agivg . . chonpositione. 7. eraiscia. 8. oni . . essechai . . ne
forno quado ne tra. 9. e po volta . . ala stopa. 10. retonda efficchati da ongni. n. achutissimi lassa Tdetta balla. 12. buso
chomaraza poi . . colofonia. 13. quessto . . appichato in somita . . asste. 14. abi 5 br di . . fefo acio . . brusato da de
15. eviare . . ne nave. 17. gittate. 18. Itenti . . queli ala. 19. gitato . . simile . . acese ano poteza a brusa. 20. oni.
nag. 2. molle. 5. cholla. 8. coe. 9. sicorae. 10. fa boci. 13. quesste. 16. uoce. 17. tassti . . esserrano bichi di gra disstatie

1128. Venturi has given another short text about
the Greek fire in a French translation (Essai % XIV).
He adds that the original text is to be found in
MS. B. 30 (?). Libri speaks of it in a note as follows
(Histoire des sciences mathematiques en Italie Vol. II
p. 129): La composition du feu grlgeois est ttne des
chases qui ont ete les plus cherchtes et qui sont encore les
plus douteuses. On dit qu'il fut invente au septieme
siecle de fere chretienne par Varchitede Callinique (Con-
stantini Porphyrogenetae opera, Lugd. Batav. 1617,
z'-8 vo ; p. 172, de admin, imper.exp. 48), et il se trouve
louvent mentionne par les Historiens Byzantins. Tantbt
on le langait avec des machines, comme on lancerait une
bouche, tantot on le soufflait avec de longs tubes, comme
on soufflerait un gaz ou un liquide enflamme (Annae
Comnenae Alexias, p. 335, lib. XL Aeliani et Leonis,
imperatoris tactica, Lugd.-Bat. 1613, in-4. part. 2 n ,
p. 322, Leonis tact. cap. 19. Joinville, histoire du Saint
Louis colled. Petitot torn. II, p. 235). Les ecrivains
contemporains disent que I'eau ne pouvait pas eteindre ce
feu, mais qu'avec du vinaigre et du sable on y parvenait.

VOL. II.

Suivant quelques historiens le feu gregeois etait compose
de soufre et de resine. Marcus Graecus (Liber ignium,
Paris, 1 804, in-4) donne plusieurs manieres de le faire
qui ne sont pas tres intelligibles , mais parmi lesquelles
on trouve la composition de la poudre a canon. Leonard
de Vinci (MSS. de Leonard de Vinci, vol. B. f. 30^ dit
git 1 on le faisait avec du charbon de saule, du salpetre, de
I'eau de vie, de la resine f du soufre, de la poix et du
camphre. Mais il est probable que nous ne savons pas
qu'elle etait sa composition, surtout a cause du secret
qrfen faisaient les Grecs. En effet, Fempereur Constantin
Porphyrogenete recommende a son fils de ne jamais
en donner aux Barbares , et de leur ripondre, s'ils en
demand^ient, qrfil avail ete apporte du del par un ange
et que le secret en avait ete confie aux Chrltiens (Con-
stantini Porphyrogennetae opera, p. 26 27, de admin,
imper., cap. 12).

1129. This chapter consists of explanations of the
sketches shown on PL CXXI. Lines I and 2 of the text
are to be seen at the top at the left hand side of
the first sketch of a drum. Lines 3 5 refer to the

282

ON MUSIC.

[II30. II3I.

JTanburo quadro, del quale 4 si tira e
allenta la sua carsta colla lieua a b\

6 Tanburo a cosonaza;

?Vna tabella a cosona 8 za, cio6 3 tabellc
insieme;

^Siccome vn medesimo 10 tanburo fa
voci "graui e acute, I2 secondo le carte piu
o me 1J tirate, cos) queste carte, ' 'variamente
tirate sopra 'Svn medesimo corpo di ta-
I0 buro, fara uarie uoci;

'7Tasti stretti e serrano; bicchi di gra
clistatie infra loro, l8 e sono al proposito
della tronba prossima di sopra;

'90 entri in loco dell'ordinarie posite
ao che anno i partici ne' lor busi de' zufoli.

A square drum of which the parchment may
be drawn tight or slackened by the lever a b{^\.

A drum for harmony [6].

[7] A clapper for harmony; that is, three
clappers together.

[9] Just as one and the same drum makes
a deep or acute sound according as the parch-
ments are more or less tightened, so these
parchments variously tightened on one and
the same drum will make various sounds [i 6].

Keys narrow and close together; (bicchi)
far apart; these will be right for the trumpet
shown above.

a must enter in the place of the ordinary

keys which have the in the openings

of a flute.

llr. M. 136*] II3 O '

Tanpani sona 2 ti come il mo^nacordo 4 o
voi dolzeSmele;-

6 Qui si fa una rotadi canne
a vso 7 di tabelle con vn circulo
mvsicale det 8 to canone, che si
canta a quattro e ^ciascu can-
tore canta tutta la rota, e pero
10 fo io qui vna rota co 4 denti
che ogni "dente per se fa 1'ofitio d'un
cantore.

225? ?>

Tymbals to be played like the monochord,

or the soft flute.

[6] Here there is to be a
cylinder of cane after the
manner of clappers with a mu-
sical round called a Canon,
which is sung in four parts; each
singer singing the whole round.

Therefore I here make a wheel with 4 teeth

so that each tooth takes by itself the part

of a singer.

B. 4 a]

Pani biachi e cielesti,
2 tessuti a scacchi -5 per
fare uno apparecchio;

* Pani tirati s in a b
c-d-e-f'g-h'i' k;
6 da fa?re uno ciclo a uno
ap 8 parecchio.

1131.

/XAAA/V

> L. . 1. m

White and sky-blue
cloths, woven in checks
to make a decoration.

Cloths with the threads
drawn at a b c d e f g
h i k, to go round the
decoration.

infrallo. 19. illoco . . posste. 1130. 6. channe . . circul. 7. chon. 8. chessi . . acquattro he.

1131. 2. schachi. 3. i aparechio. 6. daffa. 7. re i cielo a i a. 8. parechio.

sketch immediately below this. Line 6 is written as
the side of the seventh sketch, and lines 7 and" 8 at
the side of the eighth. Lines 9 16 are at the
bottom in the middle. The remainder of the text
is at the side of the drawing at the bottom.

1130. In the original there are some more
sketches, to which the text, from line 6, refers.
They are studies for a contrivance exactly like the
cylinder in our musical boxes.

XIX.

Philosophical Maxims. Morals. Polemics and

Spec^tlations.

Vasari indulges in severe strictures on Leonardo's religious views. He speaks,
among other things, of his "capricci nel filosofar delle cose natural!" and says on this
point: "Per il che fece nell'animo un concetto si eretico che e' non. si accostava a qualsi
voglia religione, stimando per avventura assai piu lo esser filosofo che cristiano" (see the
first edition of 'Le Vite'/ But this accusation on the part of a writer in the days of
the Inquisition is not a very serious one and the less so, since, throughout the manu-
scripts, we find nothing to support it.

Under the heading of "Philosophical Maxims''' I have collected all the passages
wJiich can give us a clear comprehension of Leonardo's ideas of the world at large.
It is scarcely necessary to observe that there is absolutely nothing in them to lead to
the inference that he was an atheist. His views of nature and its laws are no doubt
very unlike those of his contemporaries, and have a much closer affinity to those which
find general acceptance at the present day. On the 'other hand, it is obvioiis from
Leonardo's will (see No. 1566^ that, in the year before his death, he had professed to
adhere to the fundamental doctrines of the Roman Catholic faith, and this evidently
from his own personal desire and impulse.

The incredible and demonstrably fictitious legend of Leonardo's death in the arms
of Francis the First, is given, with others, by Vasari and further embellished by this
odious comment: "Mostrava tuttavia quanto avea offeso Dio e gli uomini del mondo, non
avendo operato nell' arte come si conveniva." This last accusation, it may be remarked,
is above all evidence of the superficial character of the information which Vasari was
in a position to give about Leonardo. It seems to imply that Leonardo was disdainful
of diligent labour. With regard to the second, referring to Leonardo's morality and
dealings with his fellow men, Vasari himself nullifies it by asserting the very contrary
in several passages. A further refutation may be found in the following sentence from

PHILOSOPHY, MORALS, POLEMICS.

tJie Utter in which Melzi, the young Milanese nobleman, announces the Master's death
to Leonardo's brothers: Credo siate certificati della morte di Maestro Lionardo fratello
vostro, e mio quanto optimo padre, per la cui morte sarebbe impossibile che io potesse
esprimere il dolore che io ho preso; e in mentre che queste mia membra si sosterranno
insieme, io possedero una perpetua infelicita, e meritamente perche sviscerato et arden-
tissimo amore mi portava giornalmente. E dolto ad ognuno la perdita di tal uomo,
quale non e piu in podesta della natura, ecc.

// is true that, in April 1476, we find the names of Leonardo and Verrocchio
entered in the "Libro degli Uffiziali di notte e de' Monasteri" as breaking the laws;
but we immediately after find the note "Absoluti cum condizione ut retamburentur"
(Tamburini was the name given to the warrant cases of the night police). The acquittal
therefore did not exclude the possibility of a repetition of the charge. It was in fact
repeated, two months later, and on this occasion the Master and his pupil were again
fully acquitted. Verrocchio was at this time forty and Leonardo four-and-twenty.
The documents referring to this affair are in the State Archives of Florence ; they have
been withheld from publication, but it seemed to me desirable to give the reader this
brief account of the leading facts of the story, as the vague hints of it, which have
recently been made public, may have given to the incident an aspect .which it had not
in reality, and which it does not deserve.

The passages here classed under the head "Morals" reveal Leonardo to us as a
man whose life and conduct were unfailingly governed by lofty principles and aims. He
could scarcely have recorded his stern reprobation and unmeasured contempt for men
who do nothing useful and strive only for riches, if his own life and ambitions had
been such as they have so often been misrepresented.

At a period like that, when superstition still exercised unlimited dominion
over the minds not merely of the illiterate crowd, but of the cultivated and learned
classes, it was very natural that Leonardo's views as to Alchemy , Ghosts, Magicians,
and the like should be met with stern reprobation whenever and wherever he may have
expressed them; this accounts for the argumentative tone of all his utterances on such
subjects which I have collected in Subdivision HI of this section. To these I have
added some passages which throw light on Leonardo's personal views on the Universe.
They are, without exception, characterised by a broad spirit of naturalism of which
the principles are more strictly applied in his essays on Astronomy, and still more on
Physical Geography.

To avoid repetition, only such notes on PhilosopJiy, Morals and Polemics, have been
included in this section as occur as independent texts in the original MSS. Several
moral reflections have already been given in Vol. I, in section "Allegorical represen-
tations, Mottoes and Emblems'". Others will de found in the following section. Nos. 9
to 12, Vol. I, arc also passages of an argumentative character. It did not seem
requisite to repeat here these and similar passages, since their direct connection zvith
t/ie context is far closer in places where they have appeared already, than it would
be here.

S. K. M. III. 64 1]

PHILOSOPHICAL MAXIMS.

1132.

Io t'ubidisco, Signore, prima per 1'a- I obey Thee Lord, first for the love I Pra ^ r d s to

2 more che ragionevolmente portare 3 ti debo, ought, in all reason to bear Thee; secondly (ii 32 . n 33 ).

secodariamente che tu sai 4 a bbreviare o for that Thou canst shorten or prolong the

prolungare le uite Sali omini. lives of men.

W. An. IV. i 7 2<r] H33

II ORATIO.
2 Tu o Iddio ci vendi 3tutti li beni per

A PRAYER.

prez 4 zo di fatica.H

Thou, O God, dost sell us all good things
at the price of labour.

"34-

O mirabile givstitia di te, primo motore, O admirable impartiality of Thine, Thou T ^ f e N p a t ^ r e e rs

tu non ai voluto macare a nessuna first Mover; Thou hast not permitted that (11341139).

2 potetia F ordine e qualita de' sua necies- any force should fail of the order or quality

sari effetti. of its necessary results.

S. K. M. III. 49 a] "35-

La neciessita e maestra 2 e tutrice
della natura ;

3 La neciessita e tema e in^ventrice
della natura Se freno e regola eterna.

Necessity is the mistress and guide of
nature.

Necessity is the theme and the inventress,
the eternal curb and law of nature.

1138. 3. sechondaria. 4. abrieviere. H33- 2- "tu" | o idio [che] ci vende. 3. per pre. 4. faticha.

1134. J - machare a nessuna [creata chosa]. 2. "equalita" de sua.

1135. i. he maesstra. 2. ettutrice. 3. ettema. 5. effrno.

286

PHILOSOPHICAL MAXIMS.

[11361140.

Tr. 75)

II36.

Molte volte una medesima cosa e tirata In many cases one and the same thing

da2violetie, * cioe neciessita e potentia ; is attracted by two strong forces, namely

i i~, ~ K:,, Necessity and Potency. Water falls in rain;

1'acuua oiove, la terra lassorbisce, 3 per j> . ]

r the earth absorbs it from the necessity for

neciessiU d'omore-, e '1 sole la sveglie no moisture; and the sun evaporates it, not from

per neciessita, ma per potetia. necessity, but by its power.

s. K. M. n.a 43< i) "37-

La gravita, la forza e'l moto acciden-

tale insieme co! 2 la percussione son le gether with resistance , are the

quatro accidentali potentie , 3 colle quali nal powers in which all

tutte 1' euidenti opere de' mortali 4 anno- actions of mortals have their
loro essere e loro morte.

Weight, force and casual impulse, to-

four exter-
the visible
being and
their end.

Tr. 70]

1138.

Till corpo nostro e sottoposto al cielo,
e lo cielo e sottoposto allo spirito.1

Our body is dependant on heaven and
heaven on the Spirit.

H.3 93*1

II moto e causa d' ogni vita.

"39-

The motive power is the cause of all life.

W. XXIX]

1140.

E tu uomo, che consideri in questa
Psychology 2 mia fatica 1' opere mirabili della ^natura,
("40 "47)- se giudicherai essere cosa *nefanda il dis-
truggerla, or pesa 5 essere cosa nefandis-
sima il torre la 6 vita all' omo, del quale,
se questa ?sua copositione ti pare di ma-
rauiglio 8 so artifitio, pensa questa essere
9nulla rispetto all' anima che in I0 tale
architettura abita, e vera'Mnente, quale
essa si sia, ella e I2 cosa diuina, sicche lascia
X 3la abitare nella sua opera a suo be I4 ne-
placito, e no volere che la tua j sira o
malignita distrugga l6 una tata vita, che
ve^ramete, chi non la l8 stima, non la
^merita.

And you, O Man, who will discern in
this work of mine the wonderful works of
Nature, if you think it would be a criminal
thing to destroy, it, reflect how much more
criminal it is to take the life of a man; and
if this, his external form, appears to thee
marvellously constructed, remember that it is
nothing as compared with the soul that
dwells in that structure; for that indeed, be
it what it may, is a thing divine. Leave it
then to dwell in His work at His good
will and pleasure, and let not your rage
or malice destroy a life for indeed, he
who does not value it, does not himself de-
serve it [19].

1136. i. volte ya medesima chosa ettirata. 2. losorbisscie. 3. sole lassuele.

1137. i- cbol. 3. cholli . . tucte. 4. clloro.

1138. i. essottoposto. 2. cllo . . essottoposto.

1139. ^- chausa.

1140. i.' quessta. 3. gudicherai. 4. desstrugerla. 7. sua co (sa] positions. 12. diuina [sig] che [si) lasscia. 13. a>suo.
14. chella. 13. distrugha. 17. chi nolla. The list seven lines are very indistinct. 20. si pa"r"te dal. 21. corpo e ben.
22. reto chol su. 23. o piauto e ch. 24. ore no sia. 25. anza [g] ca. 26. one.

1140. This text is on the back of the drawings reproduced on PI. CVII. Compare No. 798, 35 note
on p. II I. Compare also No. 837 and 838.

19. In MS. I 1 15" is the note: chi no sfima la vita, non la merita.

1 1 4 1 1 1 46-] PHILOSOPHICAL MAXIMS. 287

Tr. 78] H4 1 -

L'anima mai si puo corropere nella The soul can never be corrupted with

corruttio del corpo, ma fa nel corpo 2 a the corruption of the body, but is in the

similitudine del ueto che cavsa il suono del body as it were the air which causes the

organo, 3 C he guastadosi vna canna, no sound of the organ, where when a pipe bursts,

resultava per quella del ueto ^buono tne wind would cease to have any good

effetto. effect.

C. A. s8a; iSort]

Ogni parte a inclinatio 2 di ricogiugnersi The part always has a tendency to reunite

al suo 3tutto per fugire dalla 4 sua inper- with its whole in order to escape from its

fettione ; imperfection.

s L' anima desidera stare 6 col suo corpo, The spirit desires to remain with its body,

perche sanza 7 li strumeti organici di tal because, without the organic instruments of

8 corpo nulla puo operare ^ne setire. that body, it can neither act, nor feel anything.

C. A. 75<z; 2iga]

Chi vuole vedere come 1' anima abita If any one wishes to see how the soul

nel suo 2 corpO', guardi come esso corpo dwells in its body, let him observe how this

vsa la 3 S ua cotidiana abitatione, cioe se body uses its daily habitation; that is to say,

quella *e sanza ordine e confusa, disor- if this is devoid of order and confused, the

dinasto e cofuso fia il corpo tenvto dalla body will be kept in disorder and confusion

sua anima. by its soul.

... i

Br. M. 278,5] I3t 44-

Perche vede piv certa la cosa 1'ochio ne' Why does the eye see a thing more clearly

sogni 2 che colla imaginatione, stando desto? in dreams than with the imagination being awake?

Tr. 65] "45-

I sensi sono terrestri, la ragione sta 2 fuor The senses are of the earth ; Reason,

di quelli, quado cotenpla. stands apart in contemplation.

Tr. 70] 1146.

Ogni attione bisognia che s'esercita Every action needs to be prompted by

2 per moto; a motive.

3 It Cogniosciere e volere so 2 operationi To know and to will are two operations

4 vmane;Tl of tne human mind.

5 Discernere, givdicare, cosigliare 6 sono Discerning, judging, deliberating are acts

atti vmani. of the human mind.

1141. i. chorropere . . curuttio . . maffa. 2. assimilitudine . ..chavsa del sono. 3. guasstadosi . . chana.

1142. 3. tutto [fa] per. 4. inperfectione. 6. chol. 7. orghanici.

1143. i. vole . . chome. 2. chorpo . . chome esso chorpo. 3. chotidiana . . secquella. 4. chonfusa. 5. chofuso . . chorpo.

1144. 2. dessto.

1145. i. teresti. 2. for di quell . . chotempla.

1146. i. chessesercita. 3. cogniossciere . . operatione. 5. dissciernere . . chosigliare.

1141. Compare .No. 845.
. 1145. Compare No. 842.

288

PHILOSOPHICAL MAXIMS.

[II47II53-

Tr. 45)

1147.

Ogni nostra cognitione pricipia da sen-
timeti.

All our knowledge has its origin in
our preceptions.

Tr. 5.1 IJ 4 8 '

Scietia notitia delle cose che sono pos-

principles

'"sibili, presetie preterite; 2 prescietia notitia
cose che possi uenire, 3 per6 lento.

Science is the observation of things pos-
sible, whether present or past; prescience is
the knowledge of things which may come
to pass, though but slowly.

C. A. 8s<?; 247 a]

1149.

La sperieza, 2 interprete infra
tiosa natu^ra e la umana specie', ne insegnia

Experience, the interpreter between forma-
tive nature and the human race, teaches how

cio 6 che essa natura infra ^mortali ado- that nature acts among mortals; and being

pera, 8 da neciessita co^strefta non altri- constrained by necessity cannot act otherwise

I0 meti operarsi po T1 ssa che la ragio, suo than as reason, which is its helm, requires

timone, I2 operare le asse I3 gni. her to act.

S. K. M. III. 8o4]

La sapietia e figliola della 2 sperietia.

1150.

Wisdom is the daughter of experience.

I.i

La natura e piena d' infinite ragioni
no furo mai in isperietia.

che Nature is full of infinite causes that have

never occured in experience.

M. 58**] 1152.

TJLa verita fu sola fi 2 gliola del tenpo.Tf Truth was the only daughter of Time.

C. A. 151 a; 4491]

"53-

La sperieza no falla mai, ma sol fallano
i vostri giuditi, promettendosi di quella
2 efetti tali che ne' uostri esperimeti
causati no sono;

3 La sperieza no falla , ma sol fallano i
vostri giuditi, promettedosi di lei cose, che
no * sono in sua potesta ; s a torto si lamen-
tano li omini della sperieza, co somme
rampogne quella 6 accusano esser fallace,

Experience never errs; it is only your
judgments that err by promising themselves
effects such as are not caused by your
experiments.

Experience does not err; only your
judgments err by expecting from her what
is not in her power. Men wrongly com-
plain of Experience; with great abuse they
accuse her of leading them astray but they set

1147. i. prccipia.

1148. i. notiti delle chessono possibile presente. 2. cose che pesi uine che posl uenire. 3. penvlente.

1149. i. lassperieza. 4. ella. 5. ninsegna. 8. co. ix. chella ragio "suotiraone". 12. hoperare. 12. asegni.

1150. i dela. 2. sperietia la quale speri. 3. eza here the text breaks off.

1151. 2. inisperictia.

1159. i. verita sola fu fi. 2. glola.

1153. i. vosstri guditi. 2. (tale) effetto | "tale" che ine uosstri . . chausati. 3. essperieza . . massol . . vosstrigiuditi [i quali sa]
prometa "desi". 5. attorto si lamenta . . della ("innocete" issperieza la quale con some ranpogne. 7. Ma lasciano.

1 154 1 1 58.]

PHILOSOPHICAL MAXIMS.

289

7 ma lasciano stare essa sperietia, 8 voltati
dalle lamentation i contro alia nostra igno-
ranza, la quale ui 9 fa trascorrere con uostri
vani e stolti desideri a inprometterui di
quella cose che no sono I0 in sua potetia,
"dicendo quella esser fallace; I2 a torto si
lametan li omini della innocente sperientia ,
quella spesso accusando J 3di fallacia e di
bugiarde ^dimostrationi.

Experience aside , turning from it with
complaints as to our ignorance causing
us to be carried away by vain and foolish
desires to promise ourselves, in her name,
things that are not in her power; saying
that she is fallacious. Men are unjust in
complaining of innocent Experience, con-
stantly accusing her of error and of false
evidence.

Mz. i a (3)

"54-

1 La scientia strumentale over machinale
2 e nobilissima e sopra tutte 1'altre vtilis-
sima, 3cociosiache mediante quella tutti

Instrumental or mechanical science is of
all the noblest and the most useful, seeing
that by means of this all animated bodies

li corpi ani 4 mati, che anno moto, fanno tutte that have movement perform all their actions;

loro operation!, i quali moti Snascono dal and these movements are based on the

centre della lor grauita che e posto 6 in centre of gravity which is placed in the

mezzo a parte di pesi disequali, e a questo middle deviding unequal weights, and it has

?carestia e dovitia di muscoli, ed etia lie- dearth and wealth of muscles and also

8 va e contralieua. If lever and counter-lever.

"55-

DELLA MECCANICA.

OF MECHANICS.

2 La meccanica e il paradiso delle scie- Mechanics are the Paradise of mathe-

tie matema3tiche , perche co quella si viene matical science , because here we come to
al frutto matematico. the fruits of mathematics.

Br. M. 191 al

A ciascuno strumeto si richiede
fatto colla sperieza.

1 esser Every instrument requires to be made by

experience.

W. An. III. 241 a]

"57-

Chi biasima la sorha certezza della
2 matematica, si pasce di confusione $e mai
porra silentio 4 alle contraditioni delle soffi-
Sstiche scietie, colle quali 6 s'inpara vno
eterno gridore.

The man who blames the supreme cer-
tainty of mathematics feeds on confusion,
and can never silence the contradictions of
sophistical sciences which lead to an eternal
quackery.

G. 956] 5 8 -

Nessuna certezza delle scietie e, do 2 ve There is no certainty in sciences where

no si puo applicare 3 vna delle scietie mate- one of the mathematical sciences cannot be

ma 4 tiche e che non sono vSnite con esse applied, or which are not in relation with these

matematiche. mathematics.

8. evoltati . . lamentatione . . ingnoranza. 9. transcorrere co uosstre "vani e" in stolti . . "di quella" chose. 10. in "sua"
potetia. 12. attorto . . della "inocente" essperientia . . achusando. 13. bugarde. 14. dimostratione. Ma here the
text breaks off.

1154. i. Lasscientia. 2. essopra. 3. conco sia che. 4. mati "che annomoto" fanno . . ecquali. 5. nasscano . . possto. 6. mezo
apparte . . acquesto. 7. charesstia e douitia di mvsscoli.

1155. i. dela mechanicha. 2. mechanicha. 3. perchche cho . . matema"ticho".

1156. i. ciasscuno. 2. cholla essperieza.

1157. i. certeza delle.' 2. matematiche si passce. 3. [e mati] e mai.

1158. i. certezza "dele scietie" e do. 2. po applichare.

1155. Compare No. 660, 11. 19 22 (Vol. L, p. 332).

VOL. II.

290

PHILOSOPHICAL MAXIMS.

[I159H6l.

C. A. 75<; 219 )

"59-

Chi disputa allegado 1'autorita, non Any one who in discussion relies upon

adopera lo ingiegno, ma pivtosto la me- authority uses, not his understanding, but

moria; Ue buone lettere son nate da vn rather his memory. Good culture is born of a

bono naturale, 4 e perche si de' piv laudare good disposition; and since the cause is more

la cagio che 1'effetto, spiv lauderai vn to be praised than the effect, I will rather

buon naturale sanza lettere, 6 che vn bon praise a good disposition without culture,

letterato sanza naturale. than good culture without the disposition.

1.2 82 rt)

La scietia e il capitano, e la pratica
sono i soldati.

1160.

Science is the captain, and practice the
soldiers.

G. 8*1

1161.

DELT-'ERRORE DI QUELLI CHE VSANO 2 LA PRA- OF THE ERRORS OF THOSE WHO DEPEND

TICA SANZA SCIETIA. PRACTICE WITHOUT SCIENCE.

^Quelli che s'inamora di pratica <saza Those who fall in love with practice

scietia so come ' 1 nocchiere che estra navi- without science are like a sailor who enters

lio sanza timone e bussola, 6 che mai a a ship without a helm or a compass, and

certezza dove si vada. who never can be certain whither he is going.

1159. i. laturita. 2. longiegno. 3. senate. 4. laldare la chagio chelle fetto. 5. lalderni vn bo. 6. literato.

1160. i. ella pratica.

1161. i 6 R. i. erore. 2. praticha. 3. chessinnamora di praticha. 4. nochieri. 5. ebbussola. 6. cierteza.

II.

MORALS.

Br. M. 156 1>\

Il62.

Or vedi la speraza e'l desiderio del
ripatriarsi 2 e ritornare nel primo caso fa a
similitudine della farfalla al lume, e I'uomo
3 che co cotinvi desideri sepre co festa as-
petta la nvova iprimavera, sempre la nvova
state, sempre e nvovi mesi, 5 e nvovi anni,
paredogli che le desiderate cose, venedo,
6 sieno troppe tarde, E' non s'avede che
desidera la sua disfazi?one; ma questo
desiderio e la qultessenza, spirito degli
ele s menti, che trovadosi rlchivsa per 1'anima
dallo vmano corpo 9 desidera senpre ritor-
nare al suo mandatario; IO E uo'che sap-
pi che questo medesimo desiderio e quella
quitesseza, "copagnia della natura, e I'u-
omo e modello dello modo.

Now you see that the hope and the desire What is life?
of returning home and to one's former state *" 62 ' II63 ^'
is like the moth to the light, and that the man
who with constant longing awaits with joy each
new spring time, each new summer, each
new month and new year deeming that the
things he longs for are ever too late in
coming does not perceive that he is long-
ing for his own destruction. But this desire
is the very quintessence, the spirit of the
elements , which finding itself imprisoned
with the soul is ever longing to return from
the human body to its giver. And you must
know that this same longing is that quintes-
sence, inseparable from nature, and that man
is the image of the world.

C. A. -joa ; 207 a]

1163.

O tepo, consumatore delle cose, 2 e o
invidiosa antichita, tu distruggi tutte le
cose, 3 e consumi tutte le cose da duri deti
4 della vecchiezza a poco a poco co leta
5 morte! Elena quando si specchiaua, ve-
dedo 6 le vizze grinze del suo viso, fatte
per la vecchi 7 ezza, piagnie e pesa seco,
perche fu rapita 8 due volte.

OTime! consumer of all things; O envious
age ! thou dost destroy all things and devour
all things with the relentless teeth of years,
little by little in a slow death. Helen, when
she looked in her mirror, seeing the withered
wrinkles made in her face by old age, wept
and wondered why she had twice been
carried away.

1162. i. On tfie margin: pro, meaning probably propositione. 2. lassperaza [del suo] el desidero 2. chas"o" . . assimilitudine
"dela farfalla alume" dell uomo. 3. cho chotinvi . . cho fessta asspetta. 5. chose. 6. dissfazi. 7. Desidero e ne i [qj la
quite essenza. 8. peranima dello .... chorpo. 10. chessapi . . qulta eseza. n. chopagnia . . elluomo.

1163. i. chonsumatore . . chose. 2. disstruggi . . chose. 3. chonsumate . . chose. 4. vecchieza appocho appocho cho. 5. elena
. . sisspecchiaua. 6. leuzze grinze. 7. eppesa secho. 8. da volte. 9. chonsumatore . . chose. 10. lesono chonsumate.

292

MORALS.

[11641168.

*O tepo consumatore delle cose -, e o O Time! consumer of all things, and O

invidiosa-antichi'ta, per la quale tutte le envious age! by which all things are all
cose sono consumate! devoured.

H 33*1

Ogni danno lascia dispiacere 2 nella
ricordatione , saluo 3 C he'l sommo dano,
cioe la morte, che uccide essa ricordatione
Isieme scolla vita.

1164.

Every evil leaves behind a grief in our
memory, except the supreme evil, that is
death, which destroys this memory together
with life.

C. A.

1165.

HO dormiete checosa e sonno? jl sono

HOW to a similitudine colla morte; O perche non

(6s-i i%. fai adunque tale opera, che dopo la morte

2 tu abbi similitudine di perfetto viuo, che

uiuendo farsi col sonno simile ai tristi

morti?1I

O sleepers! what a thing is slumber!
Sleep resembles death. Ah why then dost
thou not work in such wise as that after
death thou mayst retain a resemblance to
perfect life, when, during life, thou art in
sleep so like to the hapless dead?

G. Bga]

L'un caccia I'al 2 tro.
3 Per questi quadretti 4 s' in-
tende la uita s e li studi umani.

1166.

r-i

One pushes down the other.

By these square-blocks are
meant the life and the studies
of men.

. A. 365 ;

1167.

ULa cognitio del tepo preterite 2 e del
sito della terra e orna^meto e cibo delle
meti vmane.li

The knowledge of past times and of the
places on the earth is both an ornament and
nutriment to the human mind.

Mz._8fl (12)

1168.

E di tato vilipedio la bugia, che s'ella
dicesse bene gia 2 cose di Dio, ella toglie
gratia a sua deita, ed e di tata eccelle^tia
la uerita, che s'ella laudasse cose minime
elle si fano nobili;

Sanza dubbio tal proportione e dalla
verita alia bugia, quat e s dalla luce alle
tenebre, ed e essa verita in se di tanta
eccelle 6 tia che, ancora ch'ella s'estenda
sopra vmili e basse materie, 7 sanza compa-
ratione ella eccede le incertezze e bugie

To lie is so vile, that even if it were in
speaking well of godly things it would take off
something from God's grace; and Truth is so
excellent, that if it praises but small things
they become noble.

Beyond a doubt truth bears the same
relation to falsehood as light to darkness;
and this truth is in itself so excellent that,
even when it dwells on humble and lowly-
matters, it is still infinitely above uncer-
tainty and lies, disguised in high and

1164. . dav lasscia disspiacere. 3. some. 4. viede.

1165. . chosa . . assimilitudine cholla. 2. abi . . chol sono. 1166. 5. elli.

1167. . chognitio. 3. eccibo . . vraa"ne".

1168. . cde di . . chcssella dicessi. 2. dio ella to di gratia assua. 3. chessella laldassi. 5. verita "in se" di. 6. anchora
astende. 7. comperatione ellaccede . . esstese. 8. pra [le altissime] li . . disscorsi. 9. nosstra anchora. 10. no resta . .

1165. Compare No. 676, Vol. I. p. 353.

II69II73-]

MORALS.

293

estese so 8 pra li magni e altissimi discorsi,
perche la me9te nostra, ancora ch'ell'abbia

la bugia pel quito elemeto, I0 non resta pero
, , & -4.V j 11 - - i-

che la venta delle cose no sia di sommo

no"trimento delli intelletti fini, ma non di
uaga I2 bundi ingegni;

13 Ma tu che ^viui di sogni, j sti pia-
ciono piu le l6 ragioni soffistiche I7 e barerie
de' l8 pallaji nelle ^cose gradi 20 e incerte,
che 2I le certe 22 naturali e 2 3no di tata al-
2< *tura.

lofty discourses; because in our minds,

even if lying should be their fifth element,

f i- . ., . ,, ., ri ,.

tn is does not prevent that the truth of things

1S the chief nut nment of supenor intellects,

though not of wandering wits.

But you who live in dreams are better
pleased by the sophistical reasons and frauds
of wits in great and uncertain things, than
by those reasons which are certain and natural
and not so far above us.

S. K. M. III. 36^5)

Il6g.

rT; : 'Fuggi quello -studio del quale 2 la re-
sultante opera more insie^me coll' operante
d' essa.

Avoid studies of which the result dies with
the worker.

C. A. 75,1; 2i 9 a]

II7O.

A torto si lameta li omini della fuga
del tenpo, 2 incolpando quello di troppa
velocita, no s'accorgiedo 3 quello essere di
bastevole trasito, mabona me^moria-, di che
la natura ci a dotati, ci fa che Sogni cosa
lungamete passata ci pare essere presente.

Men are in error when they lament the
flight of time, accusing it of being too swift,
and not perceiving that it is sufficient as it
passes; but good memory, with which nature
has endowed us, causes things long past to
seem present.

C. A. iiirt; 34S]

Acquista cosa nella tua giovetu 2 arresta
il danno della tua ve 3 cchiezza; ^esetu in-
tedi 5 la vechiezza aver per suo cibo la sa-
6 pietia, adoperati in tal modo in giove^tu
che tal uecchiezza no machi il nu 8 trimeto.

Learning acquired in youth arrests the
evil of old age; and if you understand that
old age has wisdom for its food, you will so
conduct yourself in youth that your old age
will not lack for nourishment.

C. A. 223 ; 671,5]

1172.

IfL'acquisto di qualuche cognitione 2 e The acquisition of any knowledge is

sepre vtile allo intelletto , perche potra always of use to the intellect, because it may

3 scacciare da se le cose inutili e riserva- thus drive out useless things and retain

4 re le buone;H the good.

5 H perche nessuna cosa si puo amare ne For nothing can be loved or hated unless

odiare, 6 se prima no sia cognitio di quella.H it is first known.

Tr. 32]

H73-

TISiccome vna giornata- bene spesa da As a day well spent procures a happy

lieto dormire, cosl vna vita bene vsata da sleep, so a life well employed procures a
lieto morire.H happy death.

chella . . chose . . somo. 12. ingegni ingeni. 13. mattu. 15. piace. 16. rag5 soffistice. 18. palari. 21. delle certe.

1169. 3. choll.

1170. 2. incholpando . . tropa . . sachorgiedo. 4. ci fa [parere] "che". 5. chosa.

1171. i. chosa . . goventu. 2. cheresta il. 3. chieza [ovr o chettu masstulli la tu]. 4. [a vechiezzaj essettu. 6. gove.
7. chettal vecheza.

1178. i. chognitione. 3. schacciare dasse le chose inutile. 4. re le. 5. chosa. 6. chognitiS.
1173. i. sicchome . . dallieto.

294

MORALS.

[II74II78.

Tr. 68)

II74.

L'acqua che tochi de' fivmi, e 1' ultima
di quella che add, e la prima J di quelle
che viene; cosl il tepo *presete;

s La vita bene spesa lunga e.

The water you touch in a river is the last
of that which has passed, and the first of that
which is coming. Thus it is with time present.

Life if well spent, is long.

w. xii.j

"75-

Siccome magiare sanza voglia si couerte
2 1 fastidioso notrimento , cosl lo studio
sa-Jza desiderio guasta la 4 memoria, col s no
ritenere cosa ch'ella pigli.

Just as food eaten without caring for it
is turned into loathsome nourishment, so
study without a taste for it spoils memory,
by retaining nothing which it has taken in.

Ash. I.

1176.

Siccome il mangiare sanza voglia fia
darioso alia salute , 2 cosl lo studio sanza

desiderio guasta
cosa ch'ella pigli.

la memoria, e no ritie

Just as eating against one's will is inju-
rious to health, so study without a liking for
it spoils the memory, and it retains nothing
it takes in.

C. A. 284*; 865*5)

1177.

! efa-

Ti ghiacciano le parole in bocca,
resti gielatina I Mogibello;

J Siccome il ferro s'arruginiscie sanza
*esercitio, e 1'acqua si putrefa e nel freddo
5 s'agghiaccia , cosl 1'ingiegnio sanza e 6 ser-
citio si guasta;

7 Mai fai se lodi -, e peggio se tu ripredi
8 la cosa , quado bene tu no la intedi;

9 Quado fortuna vie, predi 1'a ma
salua I0 dinati, perche retro -e- calua.

On Mount Etna the words freeze in
your mouth and you may make ice of
them [2].

Just as iron rusts unless it is used, and
water putrifies or, in cold, turns to ice, so
our intellect spoils unless it is kept in use.

You do ill if you praise, and still
worse if you reprove in a matter you do
not understand.

When Fortune comes, seize her in front
with a sure hand, because behind she is bald.

W. An. II. 203 a] (24)

1178.

No mi ! pare che li omini grossi e di
Hristi costumi e di poco discorso meritino
si bello stru^meto, ne tanta varieta di ma-
chinameti quanto li omini speculatiui e *di
gra discorsi, ma solo vn sacco doue si ri-

It seems to me that men of coarse and
clumsy habits and of small knowledge do not
deserve such fine instruments nor so great a
variety of natural mechanism as men of spe-
culation and of great knowledge; but merely a

1174. i. chettochi. 2. ado ella. 3. quelli.

1175. i. sichome . . chouerte. 2. losstudio. 3. za [disspositione] desiderio quassia. 4. memoria [chol no pigliare alchuua]. 5. e
no ritenere chosa chclla pigli.

1176. i. sichome . . voglia [da danno] fia. 2. chosi losstudio . . chosa.

1177. x. diaciano . . bocha. 2. cfiaresti. 3. si chomc il fero sa . ruginissce. 4. ellacq"a" . . fredo. 5. sagiacia chosi. 7. pegio
istu. 8. nolantecli. 10. dinatico . perche reto e chalua.

1178. i. chelli . . grosi. 2. trissti chorstumi "e di pocho disscorso" meritino. 3. nettanta . . spechulatiui e di. 4. disscorsi.

1177* i. 2. There is no clue to explain this strange sentence.

1179-1183.]

MORALS.

295

ceua il cibo, e donde esso s esca, che in vero
altro che un transito di cibo non so da
essere giudicati, 6 perche niente mi pare che
essi participino di spetie vmana altro, che
la voce 7 e la figvra, e tutto il resto e as-
sai manco che bestia.

sack in which their food may be stowed and
whence it may issue, since they cannot be
judged to be any thing else than vehicles
for food; for it seems to me they have
nothing about them of the human species
but the voice and the figure, and for all the
rest are much below beasts.

S. K. M. III. 17*]

1179.

Ecco alcuni che non altramente che
tra 2 sito di cibo e avmetatori di stereo e
rienpitori di destri chiamarsi debono, per-
che per 4 loro non altro nel modo o pure
alcuna virtu in opera si 5 mette, perche di
oro altro 6 che pieni destri non resta.

Some there are who are nothing else than
a passage for food and augmentors of excrement
and fillers of privies, because through them
no other things in the world, nor any good
effects are produced, since nothing but full
privies results from them.

C. A. 153 6; 455*1

1180.

II massimo ingano delli omini 2 e nelle
loro oppinioni.

The greatest- deception men suffer is n fo ih-

.. . . . r ness and

from their own opinions. ignorance

(11801182).

Tr. 56]

1181.

La stoltitia e scudo della vergognia, come
la improtitudine 2 della poverta glorificata.

Folly is the shield of shame, as
readiness is that of poverty glorified.

un-

Tur.

Il82.

La ciecca ignioraza cosl ci coduce 2 co
effetto de' lascivi sollazzi

3 f per no conosciere la uera luce.

4 (per no conosciere qual sia la uera luce.
sE'l uano splendor ci toglie 1'esser

6 ....;11vedi che per lo splendor nel fuoco
andiamo, 8 come ciecca jgnoraza ci co-
duce.

10 O miseri mortali aprite li occhi.

Blind ignorance misleads us thus and
delights with the results of lascivious joys.

jBecause it does not know the true light.

(Because it does not know what is the true

light.

Vain splendour takes from us the power
of being .... behold! for its vain splendour
we go into the fire, thus blind ignorance does
mislead us. That is, blind ignorance so mis-
leads us that . . .

O ! wretched mortals, open your eyes.

Ash. I. i a]

"83.

No si dimada richezza quello che si
puo perdere; 2 la uirtu e vero nostro bene
ed e vero premio 3 del suo possessore ; lei
no si puo perdere -, lei 4 no ci abandona ,

That is not riches, which may be lost;, ^
virtue is our true good and the true reward
of its possessor. That cannot be lost; that
never deserts us, but when life leaves us.^jAs

5. sacho [da cibo] doue. 6. essca . . gudicati. 7. chella voce. 18. ella . . ettutto erresto . . mancho che besstia.

1179. i. ecci . . che altro chettra. 3. cho [ "e rienpitori di desstri" chiamarsi. 4. loro | "altro nel modo o pure" alchuna.

6. pieni e desstr.

1180. 2. he nelloro oppennione.

1181. i. esschudo . . chome. 2. grorifichato.

n8a. i. ciccha . . chosi ci choduce. 2. e cho . . lasscivi sollazzi. 3. chonossciere. 4. chonossciere. 6. b \\\\ ^f vedi fucho an-

diano. 7. II ciecha Ignoraza . . intal modo choduce. 8. coe chome ciecha jgnioraza ci choduce. 9. che.
1183. i. richeza . . chessi. 4. lasscia. 5. elle esterne. 6. isspeso lassciano choniscorno. 7. essbeffato iloro.

296

MORALS.

[11841189.

se prima la uita no ci lascia; Me robe e le to property and external riches, hold them

esterne diuitie senpre le tieni 6 co timore; with trembling; they often leave their

spesso lasciano con scorno ?e sbeffato il loro possessor in contempt, and mocked at for

possessore perdedo lor possessione. having lost them.

F. 96*)

1184.

Ogni omo desidera far capitale per
3 dare a medici destruttori di uite, aduque
debono essere richi;

J L' uomo a grande discorso, del quale la

Every man wishes to make money to
give it to the doctors, destroyers of life;
they then ought to be rich [2].

Man has much power of discourse which

piu parte 4 e vana e falsa, li animali 1'anno for the most part is vain and false; animals
piccolo, ma e vtiMe e vero, e meglio e la have but little, but it is useful and true,

piccola certezza che la gra 6 bugia.

and a small truth is better than a great lie.

C. A. I08J; 338*] "5

Chi piv possiede piv debbe 2 temere di He who possesses most must be most

no perdere. afraid of loss.

W. XIII]

1186.

Chi uuole essere ricco in v dl 2 e impic- He who wishes to be rich in a day will

cato in vn anno. be hanged in a year.

S. K. M. HI. 77 a]

1187.

E questo uomo a vna somma 2 pazzia That man is of supreme folly who always

cioe che sepre steta per 3non stetare, e la wants for fear of wanting; and his life flies

uita a lui * fugie sotto speraza di gode s re i away while he is still hoping to enjoy the good

beni con somma fatica ac 6 quistati. things which he has with extreme labour acquired.

1188.

Se tu avessi il corpo secodo la virtu , If you governed your body by the rules

of virtue you would not walk on all fours
in this world.

cresci I reputatione come il pane Y ou grow in reputation like bread in the

I mano a' putti. hands of a child.

Rules of tu . no carpesti 2 in questo modo ;

Life

(1188-1202).

Tr. 2]

Saluatico e quel che si salua.

1189.

Savage he is who saves himself

1184. 2. medici "destruttori di iute" aduque . . esse. 4. picholo. 5. verso . . ella pichola certeza.

1185. i. ci piv posiede. 2. no.

1186. i. richo nvdi. 2. empichato nvn.

1187. i. uomo . . soma. 2. pazia . . chessepre. 3. istctare ella uita seli. 5. soma faticha a. 6. quisslati

1188. i. settn . . capresti. 3. cressci.

1184. 2. Compare No. 856.

n88. The first sentence is obscure. Compare Nos. 825. 826.

1190 II94-]

MORALS.

297

E. 31 J] "90.

Non si debbe desiderare lo inpossibile. We ought not to desire the impossible.

H.3 706]

1191.

Dimada cosiglio a chi be si corregge;

2 Givstitia vuol potetia, intellige3tia e
volonta, e si assomi^glia al re delle api;

s Chi no puniscie il male, co 6 mada che
si facci;

7 Chi piglia la biscia per la coda 8 quella
poi lo morde;

9 Chi cava la fossa, quella I0 gli ruina
adosso.

Ask counsel of him who rules himself well.
"Justice requires power, insight, and will;
and it resembles the queen-bee.

He who does not punish evil commands
it to be done.

He who takes the snake by the tail will
presently be bitten by it.

The grave will fall in upon him who
digs it.

H.3

1192.

1 Chi no rafrena la uolutta , colle bestie
2 s' acopagni ;

3 No si puo avere maggior ne minor
signio^ria che quella di se medesimo;

s Chi poco pesa, molto erra;

6 Piu facilmete si cotesta al pricipio,
7 che al fine;

8 Nessuno cosiglio e piv leale che 9 quello
che si da alle navr che so I0 no in pericolo;
"Aspetti danno quel che si regie per I2 gio-
vane sconsigliato.

The man who does not restrain wantonness,
allies himself with beasts.

Yon can have no dominion greater or less
than that over yourself.

He who thinks little, errs much.

It is easier to contend with evil at the
first than at the last.

No counsel is more loyal than that given
on ships which are in peril: He may expect
loss who acts on the advice of an inex-
perienced youth.

r. 39)

"93-

Dov' e piv sentimeto, 11 e piv martirio ; Where there is most feeling, there is the

gra martire. greatest martyrdom; a great martyr.

H.I 166]

1194.

La memoria de' benifitj apres 2 so Pigra- The memory of benefits is a frail de-

titudine e fragile; fence against ingratitude.

3 Repredi 1' amico I segre^to , e laudalo Reprove your friend in secret and praise

I paleso; him openly.

s Non essere bugiardo del 6 preterite. Be not false about the past.

1190. i. debba.

1191. i-ioR. i. ach be si corege. 2. vol. 3. essi. 4. gia are delleave. 5. punisscie. 9. cicava. 10. glruina.

1193. i 12 R. i. cholle. 3. po . . magior. 5. ci poco. 6. a pricipio. 8. nesuno chosiglio. 9. chessi da dalle. 10. pericholo.

ii. dano. 12. giovane scosiglo.
1193. piv ne martiri. 1194. i 6 R. i. benifiti apre. 4. ellaldalo. Two Knes between I. 4 and I. 5 are effaced.

1190. The writing of this note, which is exceedingly minute, is reproduced in facsimile on PI. XLI
No. 5 above the first diagram-
VOL. U.

298

MORALS.

1200.

C. A. 115*; 357*1 " 95>

CoPERATIONE DELLA PATIETIA.

2 La patietia fa cotra alle ingiurie non
altrameti che si faccino i panni 3 contra del
freddo, jnperoche se ti mvltiplicherai li
pahi secondo la mvbtiplicatione del fred-
do , esso freddo nocere no potrk ; simil-
mete alle 5 gradi ingivrie cresci la patietia,
e esse ingiurie offendere no ti po 6 tranno
la tua mete.

A SIMILE FOR PATIENCE.

Patience serves us against insults precisely
as clothes do against the cold. For if you
multiply your garments as the cold' increases,
that cold cannot hurt you; in the same way
increase your patience under great offences,
and they cannot hurt your feelings.

S. K. M. II.2 240]

1196.

Tanto e a dire be d'u tristo, 2 quanto To speak well of a base man is much

a dire male d'u bono. the same as speaking ill of a good man.

H.2 12,*]

1197.

La invidia offede colla fitta 2 infamia, Envy wounds with false accusations, that

cioe col detrarre, 3 la qual cosa spaveta la is with detraction, a thing which scares
virtu. virtue.

L. o-J

1198.

Decipimurvotisettemporefallimuretmos We are deceived by promises and time

2 deridet curas; anxia vita nihil. disappoints us [2] . . .

1199.

ILa pavra nascie piv tosto 2 che altra
cosa. 1

Fear arises sooner than any thing else.

C. A. 75 J;

1200.

Siccome 1'animosita e pericolo di uita
cosl la paura-e sicurita di quella;

2 Le minaccie sol sono 3 a rme dello
minacciato;

Just as courage imperils life, fear pro-

tects it.

Threats alone are the weapons of the threa-
tened man.

* H Dov' entra la uetura, la invidia vi Wherever good fortune enters, envy lays

pone lo assedio e lo cobatte, e dond'ella si siege to the place and attacks it; and when
parte, vi lascia il dolore e petimeto; it departs, sorrow and repentance remain

behind.

5 URaro cade chi ben camina; He who walks straight rarely falls.

1195. 2. allengiurie : altremeti . . chessi. 3. fredo jnpero chessetti . . sechondo. 4. esso fredo. 5. grade . . cressci . . essa ingiuria.

1196. . trissto.

1197. 3 R. i. lanvidia . . cholla. 2. chol. 3. spavete.

1198. . et mos. 2. nhil.

1199. 2 R. i. nasscic. 2. chosa.

1200. . sichome . . pericholo . . chosi . . sichurita. 3. iminacciato. 4. lanvidia . . essedio ello chobatte E . . lasscia il "dolore
he" pietimcto. 5. chade . . chamina. 6. laldi e pegio . . chosa dicho . . tu nolla. 7.. laldi e pegio is tu . . tu nollatcdi.

1198. 2. The rest of this passage may be rendered in various ways, but none of them give a satis-
factory meaning.

1201 1203-]

MORALS.

299

6 U Mai' e se laudi e peggio se ripredi la
cosa, dico se bene tu non la intedi;

7lMal fai se laudi e peggio se tu ri-
predi la cosa quado bene tu non la
intendi.

It is bad if you praise, and worse if you
reprove a thing, I mean, if you do not under-
stand the matter well.

It is ill to praise, and worse to reprimand
in matters that you do not understand.

I2OI.

Senpre le parole che no soddisfano
alPorechio dello , 2 auditore, li danno tedio
over rincrescimeto, e'l segnio di 3 ci6 vedrai,
spesse uolte tali auditori essere ^copiosi di
sbadigli; adduque tu, che parli dinati a
omini s di chi tu cierchi benivoletia, quado
tu vedi tali pro 6 digi di ricrescimeto, abre-
uia il tuo parlare, o tu mu 7 ta ragionameto,
e se tu altrameti farai, allora in Io 8 co della
desiderata gratia tu acquisterai odio 9e
nimicitia;

10 E se vuoi vedere di queFche vn si
diletta sanza u^dirlo parlare, parla a lui
mutado diuersi ragio I2 nameti, e quel dove
tu lo vedi stare inteto sanza I3 sbadiglia-
meti o storcimeti di ciglia o altre varie
J 4azione, sia cierto che quella cosa, di che
si parla, ^e quella di che lui si diletta, ecc.

Words which do not satisfy the ear of
the hearer weary him or vex him, and the
symptoms of this you will often see in such
hearers in their frequent yawns; you there-
fore, who speak before men whose good will
you desire, when you see such an excess of
fatigue, abridge your speech, or change your
discourse; and if you do otherwise, then
instead of the favour you desire, you will
get dislike and hostility.

And if you would see in what a man
takes pleasure, without hearing him speak,
change the subject of your discourse in talk-
ing to him, and when you presently se.e him
intent, without yawning or wrinkling his
brow or other actions of various kinds, you
may be certain that the matter of which you
are speaking is such as is agreeable to him &c.

Tr. n]

I2O2.

Mvouesi 1'amante per la cosa amata
come il senso e lo sensibile, e co seco
s'uniscie 2 e fassi vna cosa medesima;
3 1' opera e la prima cosa che nasce dal-
1' unione ; 4 se la cosa amata e vile , 1' amate
si fa vile;

s Quando la cosa " vnita e coueniete al
suo 6 vnitore , li seguita dilettatione e pia-
cere e soddisfatione;

7 Quado F amate e givto all' amato, 11 si
riposa; 8 quado il peso e posato 11 si
riposa.

The lover is moved by the beloved
object as the senses are by sensible objects;
and they unite and become one and the
same thing. The work is the first thing
born of this union; if the thing loved is
base the lover becomes base.

When the thing taken into union is per-
fectly adapted to that which receives it, the
result is delight and pleasure and satisfaction.

When that which loves is united to the
thing beloved it can rest there; when the
burden is laid down it finds rest there.

C. A. 64 ; 1971?]

1203.

La prima fama si fa etterna insieme
colli abitatori 2 della citta da lui edificata
o accresciuta;

There will be eternal fame also for the Politics
inhabitants of that town, constructed and (l2 3 ' I2 4) '
enlarged by him.

laoi. i. saddisfano. 2. alditore . . rincresscimeto. 3. uolte [alii] ttali vlditore. 4. chopiosi di sbavigli, 6. ricresscimeto . . ottu.

7. essettu altremeti . . allora illo. 8. cho. 9. ennimicitia. 10. Esse voi . . sanza vl. n. allui. 12. ecquel . . tullo.

13. sbadigliameti osstorcimeti. 14. azione . . di chessi. 15. ecquella . . lui si di che lui si diletta.
H02. i. lamata per la cosamato . . senso ella sensibbile e chosecho. 2. effassi. 3. ella . . chosa . . nasscie dell. 4. sella.

5. chosa . . choueniete . . essadisfatione. 8. li si riposato. 9. la cosasa chogni usscivta chol nostro intelletto.
1203. 2. dallui . . acressciuta. 3. obbedisscano esso mossi . . collogano co signiori "e costringano. 4. sagvinita . . roba sang-

1203. These notes were possibly written in preparation for a letter. The meaning is obscure.

POLITICS.

[I20 4 .

JTutti i popoli obbediscono e so mossi
da lor magniati , e essi magniati si colle-
gano e costringono coi signori * per 2 vie :
o per sanguinitk , o per roba : sangui-
nita, quado i lor figlioli sono a similitudine
sdi statichi; sicurta & pegnio della lor dubi-
tata fede; roba, quado tu farai a ciascQ
d'essi 6 murare vna casa o 2 dentro alia tua
citta, della quale lui ne tragga qual7ch'en-
trate e trarra . . . 10 citta cinque mila
case co trenta 8 mila abitatori , e digregerai
tanta cogregatione di popolo che a simili-
tudine di capre Pu 'adosso all' altro stanno,
epiedo ogni parte di fetore e si fanno se-
meza di pestilete I0 morte;

"E la citta si fa di bellezza copagnia
del suo nome e a te vtile di dati e fama
etterna del suo crescimeto.

All communities obey and are led by their
magnates, and these magnates ally themselves
with the lords and subjugate them in two ways:
either by consanguinity, or by fortune; by con-
sanguinity, when their children are, as it were,
hostages, and a security and pledge of their
suspected fidelity; by property, when you make
each of these build a house or two inside your
city which may yield some revenue and
he shall have . . . ; 10 towns, five thousand
houses with thirty thousand inhabitants, and
you will disperse this great congregation of
people which stand like goats one behind-
the other, filling every place with fetid smells
and sowing seeds of pestilence and death;

And the city will gain beauty worthy of
its name and to you it will be useful by
its revenues, and the eternal fame of its
aggrandizement.

Ash. II. 130]

1204.

Per matenere il dono pricipal 2 di natura
cioe liberta, trovo modo 3 da offedere e
difedere state assediati ^dali abitiosi tirani,
e prima dir6 del sisto mvrale, e acora
per che i popoli possino 6 matenere i loro
boni e giusti signiori.

To preserve Nature's chiefest boon, that
is freedom, I can find means of offence and
defence, when it is assailed by ambitious
tyrants, and first I will speak of the situation of
the walls, and also I shall show how commu-
nities can maintain their good and just Lords.

uinatri sanguinita . . assimilitudine. 5. tufiarai aciasscu. 6. casa [de] 02.. traga. 7. ettrrarra t br 10 citta . . mila casse.
8. edigregierai tanto . . assimilitudine. 9. allalstano . . oni . . fetore si fano . . pessilete. n. ella . . atte . . dati effaraa
. . cresscimeto.
1204. t. Istado assediati.

1204. Compare No. 1266.

III.

POLEMICS. SPECULATION.

G. 47 ]

1205.

O speculatore de! 2 le cose, no ti laudare
^di conosciere le cose 4 che ordinariameste
per se medesima la 6 natura 7 conduce; 8 Ma
rallegrati di co 9 nosciere il fine I0 di quelle
cose che "son disegniate dalla I2 mete tua.

Oh! speculators on things, boast not of Against
knowing the things that nature ordinarily (I 2 e 5 cul j2o6
brings about; but rejoice if you know the
end of those things which you yourself
devise.

S, K. M. II.2

1206.

O speculator! dello continvo moto,
qua*ti vani disegni in simile cerca avete
creati! 3 accopagniatevi colli cercatori del-
1'oro.

Oh! speculators on perpetual motion how
many vain projects of the like character you
have created ! Go and be the companions
of the searchers for gold.

C. A. 75 b; 219 b\

1207.

J bugiardi interpret! di natura affermano
P argieto viuo essere comvne semeza a tutti
i metalli , no si ricordado che la 2 natura
varia le semeze secodo la diuersita delle
cose che essa vole produrre al modo.

The false interpreters of nature declare Against
that quicksilver is the common seed of every (faoyf^os
metal , not remembering that nature varies
the seed according to the variety of the things
she desires to produce in the world.

1205. i. hosspechulatori. 2. chose . . laldare. 3. conossciere. 6. per sua [natu] "[ordine]". 7. [ralmete] chonducie. 8. dicho.

9. nossciere. 10. chose.

I4o6. i. spechulatori. 2. ciercha ave creati. 3. acopagniatevi . . cierchator.
1207. i. interpe'tri . . chomvne . . attutti . . richordado chella. 2. sechodo . . chose . . produre.

I2O6. Another short passage in MS. I, referring pretl tra la natura e Porno, ma sol di quelli che non coi

also to speculators, is given by LIBRI (Hist, des Sciences cienni della natura , ma cogli effetti delle sue esperienze

math. Ill, 228): Sicche voi speculators non vi fidate delli anno esercitati i loro ingegni.
autori che anno sol col immaginatione volute farsi inter-

302

POLEMICS.

[I208I2IO.

1208.

E molti 2 fecero bot^tega con I'ganni e
smiraculi 6 finti, ingan?nado la sto 8 lta molti-
9tudine.

And many have made a trade of de-
lusions and false miracles, deceiving the stupid
multitude.

\. : . .,1
friars.

Tr. 68]

UFarisei-, frati santi vol dire.U

1209.

Pharisees that is to say, friars.

'* of

W. An. III. 241]

I abbreuiatori delle opere fanno ingiu-
ria 2 alla cognitione e allo amore, 3 con-
ciosiache 1' amore di qualuche cosa e figli-
uolo 4 d'essa cognitione; 1' amore s e tanto
piu feruete, quanto la 6 cognitione e piu
certa, la qual 7 certezza nascie dalla cogni-
tione 8 integrale di tutte quelle par9ti le
quali, essendo insieme vnite, I0 conpongono
il tutto di quelle co ir se che debbono essere
amate; 12 che vale a quel, che per abbre-
uiare I3 le parti di quelle cose che lui fa
^professione di darne integral no I5 titia,
che lui lascia indietro la l6 maggior parte
delle cose, di che il tutto ''e coposto?

1210.

Abbreviators do harm to knowledge
and to love, seeing that .the love of any
thing is the offspring of this knowledge,
the love being the more fervent in pro-
portion as the knowledge is more certain.
And this certainty is born of a complete
knowledge of all the .parts, which, when com-
bined, compose the totality of the thing which
ought to be loved. Of what use then is he who
abridges the details of those matters of which he
professes to give thorough information, while
he leaves behind the chief part of the things
of which the whole is composed? It is true
that impatience, the mother of stupidity,

egli e vero che la inpa l8 tientia, madre della praises brevity, as if such persons had not

^.4-s-tlt4-t A /-ii i<alQl 1 a r*li IQ i irio 1 o r\r"#*i nl*a li fip 1r*r nr ATI/MI rrh fr* cot-wA fKr f s\ ormnt-o

stoltitia, e que^lla che lauda la breuita;
come se 20 questi tali non avessino tato di
uita, 2I ch'elli seruisse a potere avere vna
"intera notitia d'un sol particulare co^me
e vn corpo vmano! e poi vogli 24 ono ab-
bracciare la mete di dio nella 2 5quale s'in-
clude 1' universe cara 26 tando e minuzzando
quella in ifinite 2 7 parti, come se 1' avessino a
anatomizzare;

28 O stoltitia vmana no 2 9favedi tu che
tu sei stato con teco 3tutta la tua eta, e
non ai ancora 3I notitia di quella cosa che
tu piu possie 32 di, cioe della tua pazzia? e
vuoi po 33 i colla moltitudine de' soffi stichi
ingannare 3 *te e altri, sprezzando le mate-
matiche scie^zie, nelle qual si contiene la
uerita, no 36 titia delle cose che in lor si cote-
gono; e vuoi 37p O i scorrere ne' miracoli e
scrivere ch' ai 3S notitia di quelle cose, di
che la mete vmana 39 non e capace, e non
si possono dimostrare per ne 4 ssuno esenplo
naturale, e ti pare avere ^fatto miraculi,

life long enough to serve them to acquire
a complete knowledge of one single subject,
such as the human body; and then they want
to comprehend the mind of God in which
the universe is included, weighing it minutely
and mincing it into infinite parts, as if they
had to dissect it!

Oh! human stupidity, do you not per-
ceive that, though you have been with yourself
all your life, you are not yet aware of
the thing you possess most of, that is of
your folly? and then, with the crowd of so-
phists, you deceive yourselves and others,
despising the mathematical sciences, in which
truth dwells and the knowledge of the things
included in them. And then you occupy
yourself with miracles, and write that you
possess information of those things of
which the human mind is incapable and
which cannot be proved by any instance from
nature. And you fancy you have wrought
miracles when you spoil a work of some

laoS. 2. fece hot. 6. inga. 10. ne sasi foperia cognoscitore de loro ingani essigli poniano.

laio. i. abreuiatori . . opre . f . fanno ingiuia. 2. cognitione [concosia che] e allo. 3. concosia chellamore . . effilol. 4. ella
(cogni] .more. 5. ettanto. 7. feruede certeza nasscie. 8. i integrate . . pa. 9. te le. 10. conpongano . . quella. it. sa che.
12. abreuiare. 13. parte. 15. chellui lassci indirieto. 16. magor. 17. chella. 19. chellalda . . chomesse. 21. chclli ser-
uissi. 22. da "sol" parlicutare. 24. ano abracciare . . nelle. 26. minvzando. 27. parte . . lavessino anatomizare. 28. (e
delle chose che] o. 29. tu [chett] chettu se. 31. chettu. 32. coe . . pazzia [vole] e volli. 33. i conila . . inganarc.
34. splezando. 35. ze nella. 36. cotegano e voi. 39. posso. 40. naturale letti. 41. tu gnasto. 42. spcchulativo. 43. chettu.

1209. Compare No. 837, 11. 5457, No. 1296 (p. 363 and 364), and No. 1305 (p. 370).

1211. 1212.]

POLEMICS.

303

quado tu ai quastato vna t z opera d'alcuno
ingegnio speculative, e no t'avedi che tu
cadi nel medesimo errore, 44 die fa quello
che denuda la piata deH'orna45 m ento de' sua
rami, pieni di fronde, miste co4 6 li odoriferi
fiori o frutti, .... 4 8 come fece Giv^stino,
abbreuiatore delle storie scritte da Trogo
sP6peo, il quale scrisse ornatamente tutti
S'H eccelleti fatti delli sua antichi, li quali
e 52 ra pieni di mirabilissimi ornameti; e cos!
53conpose vna cosa ignuda, ma sol degna
d'ins^gegni inpatieti, li quali pare lor perder
sstanto di tenpo, quato quello e che e ado-
perato vtils 6 mete, cioe nelli studi delle opere
di nature e delle 57 cose vmane; Ma stieno
questi tali in conpa5 8 gnia delle bestie; Nelli
lor cortigiani sieno cani e 59 i altri animali
pie di rapina e accompagniansi 6o con loro

correndo sempre dietro , e seguita-

6l no 1' inoceti animali che co la fame alii
tem 6z pi delle gra nevi ti uengono alle case,
dimanda 6 3tori limosina come lor tutore.

speculative mind, and do not perceive that
you are falling into the same error as that
of a man who strips a tree of the ornament
of its branches covered with leaves mingled

with the scented blossoms or fruit

[48] as Justinus did, in abridging the histories
written by Trogus Pompeius, who had
written in an ornate style all the worthy
deeds of his forefathers, full of the most
admirable and ornamental passages; and so
composed a bald work worthy only of
those impatient spirits, who fancy they are
losing as much time as that which they
employ usefully in studying the works of
nature and the deeds of men. But these
may remain in company of beasts; among
their associates should be dogs and other
animals full of rapine and they may hunt

with them after , and then follow helpless

beasts, which in time of great snows come
near to your houses 'asking! alms as from
their master .

C. A. 187 6; 562,?]

I2II.

O matematici fate lume a tale er 2 rore !

3Lo spirito non a voce, perche dov'e
voce 4 e corpo, e dove e corpo e occupa-
tio di lo s co, il quale inpediscie all'ochio il
ue 6 dere delle cose poste dopo tale loco;
?adunque tal corpo enpie di .se tutta 8 la
circustante aria, cioe colle sua s^petie.

O mathematicians shed light on this error. , On s P irits .

, (12111213).
The spirit has no voice, because where

there is a voice there is a body, and where
there is a body space is occupied, and this
prevents the eye from seeing what is placed
behind that space; hence the surrounding air
is rilled by the body, that is by its image.

1212.

No puo essere voce, dove non e movi-
meto e percussione d'aria; 2 no puo essere
percussione d'essa aria, doue non e stru-
meto ; 3 no puo essere strumeto incorporeo ;
esse^do cosl, vno spirito no puo avere ne
voce ne forma ne forza, 5 e se pigliera
corpo, non potra penetrare ne 6 entrare
doue li usci sono serrati; 7 e se alcuno di-
ciesse : per aria cogregata 8 e ristretta isieme
lo spirito piglia i corpi 9 di uarie forme , e

There can be no voice where there is no
motion or percussion of the air; there can
be no percussion of the air where there is
no instrument, there can be no instrument
without a body; and this being so, a spirit
can have neither voice, nor form, nor strength.
And if it were to assume a body it could
not penetrate nor enter where the passages
are closed. And if any one should say
that by air, compressed and compacted

44. cheffa. 45. misto. 46. offrutti sopra dimostra. 47. que en quella piata esser da fare [bene]. 48. di [molte] lun se
tavole come fece givs. 49. abreuiatore . . da troc. 50. popeo il . . tuti. 51. eceletti. 53. inuda . . degnia di. 55. quel-
loche. 56. coe . . dele. 57. questi. 58. cortigani sie. 59. a altri . . rapina e aconpagniasi. 60. senpre dirieto ach fuge.
61. alii ten. 62. uengano . . casi. 63. lor tutore essnull here the text breaks off.

mi. i. attale. 4. e do e corpo e ochupatio. 5. cho. 6. posste . . locho. 7. dal. 8. coe.

1111. i. no po. 2. no po. 3. no po. 4. no po . . voce "| ne forma" ne forza. 5. esse. 6. sera "ti". 7. esse . . diciessi perr.
8. chorpi. 9. quelo. 10. Acquesta . . dicho. n. none nerui e ossa non po. 12. operrata inessuno. 14. fugi. 15. isperieza.

1210. 48. Givstino , Marcus Junianus Justinus,
a Roman historian of the second century, who com-
piled an epitome from the general history written

by Trogus Pompeius, who lived in the time of
Augustus. The work of the latter writer no longer
exist.

POLEMICS.

[1213.

per quello strumeto parla I0 e move co
forza, a questa parte dico, M che doue non
sono nerui e ossa, non pu6 esse I2 re forza-
operata in nessuno movimeto '-Jfatto dagl'
imaginati spiriti;

M fuggi i precetti di quelli speculator!,
che le loro 'Sragioni- no son confermate
dalla spericza.

together, a spirit may take bodies of
various forms and by this means speak
and move with strength to him I reply that
when there are neither nerves nor bones
there can be no force exercised in any kind
of movement made by such imaginary spirits.
Beware of the teaching of these specu-
lators, because their reasoning is not conf
med by experience.

W. An. II. 242*5 (-N-)]

1213.

Delli discorsi vmani stoltissimoeda essere
riputato quello, il qual s'astcde a! 2 la credu-
lita della negromatia, sorella della alchimia,
partoritricie deWe cose senplici e naturali;
Ma e tanto piu degnia di riprensione che
P alchimia, quato ella non partorisce alcuna
cosa se no simile a se, s cioe bugia; il che
non interviene nella alchimia, la quale &
ministra 6 tricie de' senplici prodotti della na-
tura, il quale vfitio fatto esser no puo 1 da
essa natura, perche in lei non sono stru-
meti organici colli quali essa possa operare
quel 8 che adopera Puomo mediante le
mani, che in tale vfitio 9 a fatti i vetri
ecc. ; ma essa negromatia, stendardo ovvero
bandiera I0 volante, mossa dal ueto, e guida-
tricie della stolta moltitudine, la quale "al
continuo testimonia collo abbaiameto d'in-
finiti effetti di tale I2 arte; e uano epiuti i
libri, affermando che 1'incati e spiriti ado-
perino ^e sanza lingua parlino, e sanza
strumeti organici, saza i quali ^parlar no
si puo, parlino, e portino gravissimi pesi,
facino tepestare x s e piovere, e che li omini
si covertino il gatte, lupi e altre bestie,
I6 benche in bestia prima etra quelli che tal
cosa afifermano;

17 E cierto, se tale negromatia fusse in
essere, come dalli bassi ingiegni e creduto,
l8 nessuna cosa & sopra la terra che al
danno e seruitio dell'orno fusse di tanta
valitudine, perche se fus^se vero, che in tale
arte si avesse potetia di far turbare la tra-
quilla serenita dell' ari 20 a, convertendo quella
in notturn aspetto, e far le corruscationi o
venti con spa 2I vetevoli toni e folgori scorreti
infra le tenebre, e con Ipetuosi venti ruinare

Of all human opinions that is to
reputed the most foolish which deals wit
the belief in Necromancy, the sister of Al-
chemy, which gives birth to simple and natura
things. But it is all the more worthy of
reprehension than alchemy, because it brinj
forth nothing but what is like itself,
is, lies; this does not happen in Alchemy
which deals with simple products of natur
and whose function cannot be exercised
by nature itself, because it has no organic
instruments with which it can work,
men do by means of their hands, who have
produced, for instance, glass &c. but this
Necromancy the flag and flying banner, blov
by the winds, is the guide of the stupic
crowd which is constantly witness to the
dazzling and endless effects of this art; and
there are books full, declaring that enchant-
ments and spirits can work and speak without
tongues and without organic instruments -
without which it is impossible to speak -
and can carry heaviest weights and raise stor
and rain; and that men can be turned into cats
and wolves and other beasts, although indeed
it is those who affirm these things who
became beasts.

And surely if this Necromancy did exist,
as is believed by small wits, there
nothing on the earth that would be of so
much importance alike for the detriment and
service of men, if it were true that there
were in such an art a power to disturb the
calm serenity of the air, converting it into
darkness and making coruscations or winds,
with terrific thunder and lightnings rushing
through the darkness , and with violent

1213. Above the text is the note: seguita quel che macha dirieto alia facia del pie. x. Ma dalli disscorsi . . essere [tenuto] "re
putato" . . sasstede 2. archimia. 3. lie chose [naturali] senplici . . ettanto . . ripresi. 4. chellarchimia . . partorissce . .
chosa . . asse. 5. (parole] "cioe bugia" il che none . . archimia . . e [vfit] minisstra. 6. dalla. 7. illei none . . orgha-
nici [da potcr] "cholli quali" essa. &. lomo [il quale] mediante. 9. affatti e vetri . . stendar "do" over. 10. ueto guidatricie.
ii. chontinuu e tesstimonia chollo. 12. epiute . . chellinchati esspiriti. 13. essanza . . essanza . . saza. 14. po . . tepesstare. .
15. chelli . . ghattc. 16. che dattal chosa. 17. eccierto senate . . fussi . . chome. 18. chosa essopra . . al "danno e"
seruitio . . fussi . . tanta [vtilita] "valitudine" perchesse fu. 19. si . . arte [fussi] si avessi . . turbare [laria] la. 2. chon-
vertendo . . inotturnasspetto eflarle corrusscationi . . chon isspa. ax. effolgo"ri" . . infralle . . e chonni pctuosi. 22. dira-

I2I4-]

POLEMICS.

305

22 li alti edifiti, e diradicare le selue, e con
quelle percuotere li eserciti, e quelli 2 3ron-
pedo e atterrado, e oltr' a questo le dannose
tenpeste, privando li cultori 2 ^del premio
delle lor fatiche, o qual modo di guerra
puo essere, che con tanto dan 2 5no possa
offendere il suo nemico di aver potesta di
privarlo delle sue raccolte? qual bat 26 taglia
marittima puo essere che si assomigli a
quella? dico lui che comada alii veti 2 ?e fa
le fortune ruvinose e sommergitrici di qual-
unche armata, cierto quel che 28 co mada
a tali inpetuosi potetie sara signore delli
popoli, e nessuno vma 2 9no ingiegnio potra
resistere alle sue dannose forze; Li occulti
tesori e 3giemme, riposte nel corpo della
terra, fieno a costui tutti manifest!; nessun
S'serrame o fortezza inespugnabili sara
quelle che saluar possino a! 32 cuno sanza
la voglia di tal negromate; Questo si fara
portare per 1'aria dal^l'oriente all'occidete
e per tutti li oppositi aspetti dell' universe ;
Ma perche mi voglio piu oltre estendere?
quale e quella cosa che per ta 35 le arteficie
far no si possa? quasi nessuna, eccietto il
levarsi la morte; ad3 6 dunque e concluso
in parte- il danno e la vtilita che in tale
arte si contiene, esse37do vera; e s'ella e
vera, perche non e restata infra li omini
che tanto la deside3 8 rano, non avedo riguardo
a nessuna deita ? e so, che infiniti ce n'e, che
per soddisfare 39 a vn suo appetite, ruine-
rebbero Iddio co tutto 1' universe ; e s' ella
non e rimasto infra 4 li omini, essendo a lui
tanto neciessaria, essa no fu mai, ne mai
e per dovere essere, 4I per la difinitio dello
spirito, il quale e invisibile in corpo ; e
dentro alii eleme 42 ti non sono cose incor-
poree, perche doue non e corpo, e vacuo,
e il uacuo no si da dentro alii elemeti,
perche subito sarebbe dall'elemeto riepiuto;
| volta carta.

storms overthrowing high buildings and rooting
up forests ; and thus to oppose armies, crushing
and annihilating them; and, besides these
frightful storms may deprive the peasants of
the reward of their labours. Now what
kind of warfare is there to hurt the enemy
so much as to deprive him of the harvest?
What naval warfare could be compared
with this? I say, the man who has power
to command the winds and to make ruinous
gales by which any fleet may be sub-
merged, surely a man who could com-
mand such violent forces would be lord of
the nations, and no human ingenuity could
-resist his crushing force. The hidden trea-
sures and gems reposing in the body of the
earth would all be made manifest to him.
No lock nor. fortress, though impregnable,
would be able to save any one against
the will of the necromancer. He would
have himself carried through the air from
East to West and through all the opposite
sides of the universe. But why should I
enlarge further upon this? What is there
that could not be done by such a crafts-
man? Almost nothing., except to escape
death. Hereby I have explained in part
the mischief and the usefulness, contained
in this art, if it is real; and if it is real why
has it not remained among men who desire it
so much, having nothing to do with any deity?
For I know that there are numberless people
who would, to satisfy a whim, destroy God and
all the universe; and if this necromancy, being,
as it were, so necessary to men, has not been
left among them, it can never have existed,
nor will it ever exist according to the definition
of the spirit, which is invisible in substance;
for within the elements there are no incorpo-
rate things, because where there is no body,
there is a vacuum; and no vacuum can exist
in the elements because it would be imme-
diately filled up. Turn over.

W. An. II. 242 a]

1214.

DELLI SPIRITI.

OF SPIRITS.

2 Abiao insin qui dirieto a questa faccia We have said, on the other side of this

detto, 3 come la difinitio dello spirito 4 e vna page, that the definition of a spirit is a
potentia congiunta al corpo, perche per se power conjoined to a body; because it cannot

dichare 1 piante "selue" e chon . . perchotere . . ecquelli. 23. oltradiquesto . . tenpesste . . chultori. 24. ghuerra po
. . chon. 25. nemicho aver potessta . . richolte . . ba. 26. po . . chessi . . acquella dicho . . chomada. 27. effa . .
essomergitrici. 28. chomada attali. 29. resisstere . . ocholti. 30. gieme . . chorpo . . achosstu . . nessu. 31. fortezza
[chef] inepugr.abili . . chessalvar. 32. chuno. 33. lloriente . '. opositi asspetti. 34. mi voio piu oltre asslendendo . . chosa
che pera. 36. choncluso "in parte" il ella . . chontiene. 37. essella . . none e resstata infralli . . chetta deside. 38. e'ssol
che infiniti ciene . . saddisfare. 39. ruinerebono . . cho . . essella. 40. allui tanta (?) . . mai nemmai. 41. chorpo. 42. none
chose inchorporee . . chorpo e vachuo . . vachuo.

1314. 2. acquesta . . decto. 3. chome . . spirito [e vn ome noch]. 4. chongiunta. 5. alchuna . . lochale. 6. essettu . . reggha
VOL. II. QQ

3 o6

POLEMICS.

medesimo sreggiere no si pu6, ne pigliare
alcuna sorte di moto locale, 6 e se tu dirai
che per se si regga, questo essere non
pud ?dentro alii elemeti, perche se lo spi-
rito e quatita incor 8 porea, questa tal quan-
tita e detta vacuo, e il ua^cuo non si da
in natura; e dato che si desse, subito sa-
I0 rebbe riempiuto dalla ruina di quello ele-
mento nel "qual il uacuo si gienerasse;
adunque per la difinition del pe I2 so che
dicie, la grauita e vna potetia accidentale
creata '3 d' alcuno elemento tirato o sospinto
nelPaltro, seguita, che '^nessuno elemeto,
non pesando nel medesimo elemeto, e' pe-
'Jsa nell' elemeto superiore ch'e piu lieve-
di lui; come si uede l6 la parte dell'acqua
non a gravita o leuita piu che 1'altra
'Jacqua, ma se tu la tirerai nell' aria, allora
ella acqui :8 stera gravezza, e se tu tirerai
Paria ^sotto 1'acqua, allora 1'acqua, che
si trova sopra tale 20 aria, acquista gravezza,
la qual gravezza per se sostener 2I non si
pud, onde 11 e neciessario la ruina, e cosl
cade infra "1'acqua in quel loco ch'e va-
cuo d'essa acqua; tale ac^caderebbe nello
spirito, stando infra li elemeti, che al 24 con-
tinuo gienererebbe vacuo in quel tale elemeto,
dove 25 lui si trovasse, per la qual cosa 11
sarebbe neciessario la con 26 tinua fuga in-
verso il cielo, insinche vscito fusse di tali
2 ? elemeti.

SE LO SPIRITO TIENE CORPO INFRA LI 2 9LE-
MENTI.

3Abbia provato, come lo spirito non
puo per se stare infra li 3 'element! sanza
corpo, ne per se si pu6 mouere per moto
vo3 2 lontario, se non e allo in su; Ma al
presente diremo co33me, pigliando corpo
d'aria tale spirito, e necies 34 sario che s'in-
fonda infra essa aria, perche, s'elli stesse
vnito, 35 e ' sarebbe separate e caderebbe
alia gieneratio del uacuo, 36 come di sopra
e detto; addunque e neciessario che, a
volere 37 r estare infra I'aria, che esso s'in-
fonda in una quatita d'aria; e 3 8 se si mista
coll' aria, elli seguita due inconvenienti,
cioe 39 che elli leuifica quella quatita del-
1'aria dove esso si mista, e 4 per la qual
cosa I'aria leuificata per se uola in alto,

move of its own accord, nor can it have any
kind of motion in space; and if you were
to say that it moves itself, this cannot be
within the elements. For, if the spirit is an
incorporeal quantity, this quantity is called a
vacuum, and a vacuum does not exist in nature ;
and granting that one were formed, it would
be immediately filled up by the rushing in of
the element in which the vacuum had been
generated. Therefore, from the definition of
weight, which is this Gravity is an accidental
power, created by one element being drawn
to or suspended in another it follows that
an element, not weighing anything compared
with itself, has weight in the element above
it and lighter than it; as we see that the
parts of water have no gravity or levity com-
pared with other water, but if you draw it
up into the air, then it would acquire weight,
and if you were to draw the air beneath the
water then the water which remains above
this air would acquire weight, which weight
could not sustain itself by itself, whence
collapse is inevitable. And this happens in
water; wherever the vacuum may be in this
water it will fall in ; and this would happen with
a spirit amid the elements, where it would con-
tinuously generate a vacuum in whatever ele-
ment it might find itself, whence it would be
inevitable that it should be constantly flying to-
wards the sky until it had quitted these elements.

AS TO WHETHER A SPIRIT HAS A BODY AMID
THE ELEMENTS.

We have proved that a spirit cannot exist
of itself amid the elements without a body,
nor can it move of